This one goes out to John who’s looking for more in-use examples of Daisyland.

For ages 8–80
A good beginner’s book. easy enough for children, appealing enough for adults.
Clear Project Instructions · Knotting Diagrams · Full-Color Photos

On 23 pages, the DIY book presents patterns titled Neat Knots Wallhanging, Wings of String Butterfly, Fish Story, Twice as Nice Plant Hanger, Beaded Beauty Belt, Beach or Books Tote, Jump Ropes, Message Center, Mr. Happy, Ring Around a Towel, and Pretty Hang-up.

Kids Can Macramé was edited and art directed by Mickey Baskett, with photography by Jimmy George and illustrations by Jackie Stephens. Cathy Bonds, Rose Brinkley, Michelle Menough, Carol Millsaps, and Lynn Witbeck are listed as co-authors.

All of the typefaces were available from VGC for the Photo Typositor. Daisyland – an ornamented variant of Erwin by Murray Fuchs – and Jerry Matejka’s Soul were originals by the Florida-based phototype company.

A teach-yourself-to-play-keyboard book that came with a Baldwin Orga-sonic electric organ. It has a Mississippi Riverboat theme throughout and uses 19th-century typefaces to match.

In 2025, the Typographische Gesellschaft Austria (Typographic Society Austria, tga) organized the anniversary edition of what is one of the best typography conferences I’ve attended. The symposium took place in late August on Burg Raabs an der Thaya – which is, hands down, the most spectacular venue for such an event.

Visiting the symposium allowed me to revisit some of the places I had photographed on previous occasions. This includes the script lettering on the former shop of Josef Stallecker on Hauptplatz, the municipality’s main square. On two sides of the single-story building, it mentions his profession, “Sattler Tapezierer” (“upholsterer, decorator”), and the areas of services, “Polstermöbel Bodenbelag” (“upholstered furniture, floor covering”).

With their reluctant connections and the crammed m, the low-contrast letterforms reminded me of IBM Script, a monospaced script made in the 1960s for the IBM Selectric typewriter. However, the actual source is another three decades older than that: the unknown sign maker patterned the letterforms after Signal, a foundry typeface first cast by Berthold in 1931. Its slightly awkward shapes – strung like beads on a string, with built-in connectors – have to do with the fact that metal script typefaces from that era were produced to have no overhangs, so that no delicate parts would break in the stereotyping process.

The lettering was engraved into the plaster and then painted in. I’m not sure what happened to “Josef” and “Sattler” – were these words left uncolored? Did they use a different color that faded away over the years?

Established in 1912 (by Josef’s parents?), the family business is currently run by Thomas Stallecker. It’s now located about 200 m to the west, still at Hauptplatz. The painted sign on the yellow façade reads “Raumausstatter Stallecker” (“interior decorator”) and uses Tintoretto. This bicolor typeface – a shaded variant of Aldo Manutio – was issued by Schelter & Giesecke in 1894. It got a new lease of life after Letraset issued their version in the early 1970s. Stallecker uses it in two shades of brown, with an underline for good measure.

For comparison, a resetting of the words in FDI Lettograph. This 2024 digitization is largely faithful to the original, with the exception of the p. In Signal, this letter is open at the bottom, as in German school script models (and also in formal scripts).

Metal Signal came with two forms for the lowercase r, but without one that omits the exit stroke (FDI Lettograph automatically inserts such a contextual alternate, see above). The sign painter invented an optimized terminal form for “Sattler”, but didn’t use it for “Tapezierer”. In “Stallecker”, they made up for it with an impromptu swash.

The business’s new location with the name in bichromatic Tintoretto

View of Raabs, with the castle – the conference venue featuring the tga’s pink flag – in the background

An advert from the early 1940s places the Bonmatí pharmacy at the upperside of the Rambla in Figueres, in the Catalonian region of Girona. Although the pharmacy moved to a new address few years ago, the old signage is still preserved at its original location. At the new address, the Bonmatí family preserves a ceramic sign and the cabinet that was used to store the labels for the pharmacy’s products. Typography and lettering, letterpress and lithography. A few millimetres of paper were used to create small graphic universes to organise the categories of pharmaceutical products.

“Para tomar a cucharadas” and “Jarabe de savia de pino”: Neo Futura (Neufville’s name for Futura Black), Grotesca ancha nueva (Gans), and Antigua Mercedes (Neufville’s name for Tages-Antiqua)
“Uso indicado” and “Uso interno”: Romana estrecha negra (Fundición Tipográfica Nacional)
“Veterinaria” (and also “Fricciones”, “Inhalaciones” etc.): Cleopatra negra (Iranzo)
“Alcohol 96”: Futura (Neufville/Bauer)
“Tintura de Yodo” (and “Alcohol alcanforado”): Futura chupada, Neufville’s name for Futura Condensed
“Agua picrica”: Predilecta (Iranzo’s version of Kristall-Grotesk)
“Limonada purgante”: Grotesca Mercantil (Gans; see Longina)

“Agua de azahar”: unidentified typeface

“A toques”: Bernhard-Kursiv fett (Bauer)

Rows 1–3: Romana estrecha negra (serif) and an unidentified sans
Row 4: Predilecta
Row 5: “Bicarbonato de sosa” is in an unidentified typeface that has several glyphs in common with Roundhead and is also very close to Runic Grotesque (but with asymmetrical T). “Una cucharadita cada 2 horas” is in Venus Bold (Bauer).

Row 1: Fresko a.k.a. Cartoon (Bauer) with Predilecta
Rows 2–4: Antigua Mercedes, Futura, and Cleopatra. The labels in the last row additionally features Grotesca ancha nueva (“Puncem”) and Futura Condensed.

Top left (“Timol”): a local version of Zeitungs-Grotesque (Grotesca ancha by Gans, Grotesca negra by FTN, or Fette Grotesk by Bauer), Venus, Futura chupada negra, Bodoni, and a local version of Copperplate Gothic (Helénica ancha by Gans or Espartana estrecha by FTN)

Top right (“Callicida”): an unidentified wide grotesk, Futura, Venus

Bottom left: both weights of Cleopatra, Futura Italic, Grotesca ancha nueva, and a fine Bowl of Hygieia

Bottom right: Venus and Futura

Lithographic labels by J. Garcia printing house, Barcelona. Most text on these is lettering. The address is added in Cleopatra.

Different styles of lettering

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Letterhead by José de Ros

Josep de Ros was an industrialist from Figueres, Spain, born in the manor house of Les Olives into an aristocratic family. Around 1917, he started a business in the fertilizer sector and opened the Camponal liquor distillery a few years later. He had a warehouse on Vilallonga Avenue in Figueres, near the railway station, close to the border with France. He died in 1935.

In the shown letterheads by Josep/José de Ros from around 1930, the difference between typography and lettering is difficult to appreciate (thanks to the staff of Fonts In Use for the clarifications).

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Detail of the letterhead: “José de Ros / Abonos, cereales y despojos / Figueras”. All three styles are lettering.

The name is in an English script close to Stempel’s Künstler-Schreibschrift, known in Spanish as Inglesa Artista semi-negra, with an ornamented J and a characteristic loop around the stem of the R. Josep de Ros i Moner (father) and Josep de Ros i Reig (son) were descendents of Ros de Olano. In Stempel’s 1918 specimen book for the Spanish market, the name of Ros de Olano is set in Inglesa Artista (it’s misspelled as “Olona”; another page in the same book has the correct spelling).

“Figueras” is drawn in a serif with inline. The structure is very close to the Bravour typeface designed by Martin Jacoby-Boy for Stempel in 1912), but with sharper serifs, and a wider letter U with a small spur. I have made a comparison with the solid Bravour negra and the decorated Bravour adornado (Verzierte Bravour).

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Comparison of the lettered inline caps to the Bravour typeface

From the obituary for the father in La Veu de l’Empordá, 27 December 1919 (translated):

[…] Josep de Ros was from a noble family, from the stately house of Ros located in the town of Les Olives, although the one they owned in this city could also be considered a manor. Among the ancestors of the house are the famous General Ros de Olano, who was a minister of the Crown and commanded an army corps in the African War during the years 1859 and 1860. The last Prior of the Monastery of Santa Maria de Ripoll also came from the Ros family.

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Detail of the letterhead featuring Merveille, Kleukens, and Venus, all by Bauer/Neufville

The Camponal letterhead is typographic: it’s set in the typefaces Merveille, Kleukens-Kursiv and Venus-Grotesk, all by the Bauer type foundry (Merveille originated in the United States under the name Laclede), and distributed in Spain by the Neufville branch in Barcelona. Bauer’s typefaces were the most commonly used ones in Catalonia before the Franco dictatorship (1939). This letterhead helped to locate the forgotten Camponal distillery.

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Label featuring Venus schmal dreiviertelfett, Fette Grotesk-Kursiv, and Clio a.k.a. Kleopatra

The Camponal identity uses other typefaces by Bauer and Neufville, like Antigua Mercedes (the Spanish name of Tages-Antiqua), Bernhard-Antiqua, Fette Grotesk-Kursiv, Carnaby (Marocco), Grotesca Estrecha (Neue enge Zeitungs-Grotesk), Florentiner Mediaeval, and Majestic.

A few typefaces could have been sourced from different type foundries based in Madrid and Valencia, like Clio (Ludwig Wagner, 1903) distributed by Neufville/Bauer as Kleopatra and by Gans as Aurora; or Aurora Grotesk (Wagner & Schmidt, 1908) sold by Gans as Grotesca Ideal and by Fundición Tipográfica Nacional as Grotesca Estrecha.

Typography and lettering also coexist in other elements, such as in the Camponal liquour labels and packaging.

Learn more about Josep de Ros and the Camponal distillery.

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Camponal label featuring lettering (white letters), Kleukens-Antiqua, and Majestic

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Label featuring Kleukens-Antiqua, Venus, and an unidentified typeface (similar to Stempel’s Holzhausen-Antiqua, but with a different M)

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Bottle label ft. lettering, an unidentified grotesk for “Licor de Hierbas ‘Camponal’” (similar to Grotesca Favorita by Gans), and Bauer’s Kleopatra

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Packaging ft. lettering (the reversed letters at the top), Marocco a.k.a. Carnaby for “Cura estómago e intestinos”, Majestic for “G. Garriga”, and other unidentified typefaces

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Camponal ad ft. Bernhard-Antiqua, Universitäts-Antiqua a.k.a Druckhaus-Antiqua, Neue enge Zeitungs-Grotesk, Tages-Antiqua a.k.a. Antigua Mercedes, and others

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Point-of-sale display ft. Columbus, a version of Edel-Grotesk (probably Groteska Moderna by Fundición Tipográfica Nacional), and Schmale halbfette Etienne

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Camponal ad ft. Bernhard-Antiqua, Tages-Antiqua a.k.a. Antigua Mercedes, Universitäts-Antiqua, Florentiner Mediaeval, Kleukens-Antiqua, and an unidentified grotesk

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Address label ft. Etienne Sombreada (Gans’s version of Umstochene Etienne by Schelter & Giesecke), Venus, and Antigua Veneciana (Gans’s version of ATF’s Cheltenham)

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In August 1942, the Second World War was in full swing and Wehrmacht troops were approaching Stalingrad. At home in the German Empire – in Nuremberg, the city that previously hosted the Nazi Party rallies – the population was offered distraction and entertainment in the form of “true-to-nature geography and ethnology”.

Each week, the Kaiser-Panorama (est. 1888) in the Mauthalle presented a different virtual journey. This time, visitors could view stereoscopic glass slides depicting fifty three-dimensional scenes from the Republic of Peru in South America, from the Pichu-Puchu [sic!] to a herd of llamas. Students and DAF members paid a reduced entry fee; soldiers, children, seniors and disabled persons even less.

The typography of the leaflet combines blackletter and non-blackletter typefaces. There are two sans serifs, the bold rounded Block and the wide Industria, both from before the First World War. The price information at the bottom is set in an Art Nouveau roman that’s even older, Schelter-Antiqua halbfett from 1906. The two blackletter typefaces are the youngest designs: the dates are shown in Straßburg, released in 1926, and the list of scenes in Thannhaeuser-Fraktur, first cast in 1938.

Print ad for new releases and reissues in the educational book series Kamprath-Skelett – kurz und bündig (“briefly and concisely”) by Ernst Kamprath Verlag, Leipzig. The listed titles include “quick lessons with visual aids in three-color printing” for Latin and French grammar, world and cultural history, and physics.

The design may look like a piece of multiscript typography at first, with its mix of disparate typefaces. And indeed scholars like young (dogmatic and chauvinistic) Jan Tschichold considered blackletter typefaces to be something fundamentally different than roman (incl. sans-serif and “Latin” script) type, denouncing them in die neue typographie from 1928 as “nationalism”, alongside actual non-Latin scripts like Greek, Cyrillic, Arabic, Chinese etc. But of course all text in this advert is in the Latin script – including the blackletter.

The typefaces are Walter Tiemann’s Tiemann-Fraktur (Klingspor, 1914/1918) and Walter Wege’s Signal (Berthold, 1931/1932). Both appear in two weights each: the large “kurz und bündig” at the top is in the light Script-Signal.

Source: gallica.bnf.fr License: All Rights Reserved.

Issue 6, April 25, 1928

French weekly magazine Vu was the brainchild of Lucien Vogel (1886–1954). It was first published on March 21, 1928, with a logo designed by Cassandre. 637 more issues followed until May 29, 1940. Vu is best known for pioneering photojournalism, featuring works by contributing photographers such as Cartier-Bresson, Man Ray, Brassaï, Robert Capa, and André Kertész.

From the very start, it included a section titled “Les distractions de la semaine” (“The week’s distractions”) with various puzzles, or problèmes. Initially, the crosswords came with handwritten numbers, see this example from issue 5. In the sixth issue from April 25, 1928, Vu introduced solutions for the crosswords. These no longer used lettering. Instead, they were composed from a special font. Simply named Mots Croisés (French for “crosswords”), it offered blank and black squares as well as such with capital letters for clues and solutions, internal and external numbers, and border elements. Mots Croisés is shown in Deberny & Peignot’s Spécimen Générale from around 1936.

Last month, Poem released Phông, a digital typeface inspired by crossword puzzles. It was created by Khải Quang Nguyễn during his research residency at Atelier National de Recherche Typographique. While his primary inspiration were the puzzles in Phong-Hóa, a Vietnamese satirical journal first published in 1932, he also looked into Vu – which led me to Mots Croisés. Cảm ơn, Khải!

Source: gallica.bnf.fr License: All Rights Reserved.

Detail from issue 21, August 8, 1928

The other fonts in use for “Les distractions de la semaine” are worth a look, too. While the dancing fat face with the checkered fill used for the title is lettering, the thin caps for “Résultats” in the first image are typographic: they come from the generically named Antique Fine. The puzzles themselves are set in Beaudoire’s Elzevir, which started about 1860 as a commercial copy of Louis Perrin’s Caract. Headings are in the accompanying Elzevir Gras, which has more in common with Alexander Phemister’s Old Style Antique No. 7.

Source: gallica.bnf.fr License: All Rights Reserved.

Issue 21, August 8, 1928

The bold italic caps used for the solution du problème № 37 (above) are from Sphinx italique. One of the sans serifs seen in issue 249 from March 1933 (below) is Consul, which was available from several French foundries, including from Peignot & Fils as Antiques maigres larges.

Source: typedrawers.com License: All Rights Reserved.

Detail from issue 259, March 1, 1933

Description of the book by the publishing house Spector Books:

Artist Gabriele Stötzer was the powerhouse of Erfurt’s lively underground. After Wolf Biermann’s expatriation in 1976, she herself was held on remand and put in the Hoheneck women’s prison. Her one-year imprisonment did not silence her though. After her release, she ran an underground gallery and established a group of female artists. On 4 December 1989, she was the first to occupy the Stasi building in Erfurt together with a collection of like-minded people. More than twenty-five years after the event, Stötzer researched her own past and that of thirty-two fellow artists as recorded in the Stasi archives. She has written a factual report on the different forms of observation that were used, exposing the internal logic of the surveillance regime. Her text is supplemented by original documents from the files, photos from the underground as well as found footage from the 1960s to 1980s.

288pp. with numerous color and black and white illustrations, perfect bound softcover, 21×26.5 cm; German

ISBN: 9783959053174

The book was written by Gabriele Stötzer and edited by Anne König. Designer Malin Gewinner used Stempel Garamond for text, together with the yet unreleased Streetfutura and Rike Mono for titles and marginalia, respectively.

From Wikipedia:

Beat Rodeo (also known as The Beat Rodeo) was a country rock band from New York City during the 1980s.

Headliner’s Catalina was used in Beat Rodeo’s album Staying Out Late With for the artist name. The title above is set in Signal. The sans on the sticker is Frutiger.

[More info at Discogs]

From Wikipedia:

At the end of 1970, the First Edition had their seventh Top 40 hit with the Kin Vassy-penned “Heed the Call”. Another song about the need for brotherhood, it was seen as an uptempo counterpart to the balladry of “Tell It All Brother.”

[More info on Discogs]

RT Alias in use for the catalog of Jesse Stecklow’s exhibition titled Terminal at the mumok in Vienna, designed by the artist himself:

The collection, analysis, and circulation of ecological data, often invisible to the human eye, is at the core of Jesse Stecklow’s artistic practice. The Los Angeles-based artist (b. 1993) works with a precisely defined repertoire of objects that oscillate between image, text and sound. His sculptures enter into a dialogue with their surrounding environment, effectively confusing the boundaries of the work. Stecklow is less concerned with the singular object itself. Rather, he is interested in the various narratives that are created through location-related shifts in context. Stecklow refers to his objects as characters. They take on different roles depending on the situation in which they find themselves, thus assuming multiple identities in divergent forms.

In his first European museum exhibition, Stecklow transformed the exhibition space into a waiting room. He presented various versions of his sculptures in repetition across displays he designed as a hybrid between luggage carousels and dining tables. These forms reflect the shifts between public and private spaces that have occurred throughout the pandemic: while heavily frequented airport terminals emptied, our hitherto lonely dining tables have filled up, becoming offices and school desks.

The text typeface is Stempel Garamond. The oldstyle roman used on the cover is yet unidentified [edit: it’s a layered combination of Cobra and Larish Alte, see comments].

30,000 on the Hoof is a Western novel by Zane Grey (1872–1939), published posthumously in 1940. Shown here is the first-edition cover by Grosset & Dunlap.

The title typeface, an all-caps roman with flare serifs and inline effect, is Atrax. “Thirty thousand” is written as a number. This way, we get to see Atrax’ numerals, which exhibit diagonal contrast – unlike the letters, which are drawn around a vertical contrast axis. With all weight apportioned to the bottom left, the zero almost looks like a dimensional ball.

If you try to learn about the origins of Atrax from a font marketplace like Monotype’s MyFonts, you’ll find that it was designed by “URW Design Staff” and that the design is owned by URW Type Foundry (a publisher acquired by Monotype in 2020). The tags hint at a date in the 1990s. That’s misleading at best, and only relates to one of the digitizations.

In fact, Atrax is a design by Heinrich Jost (1889–1948), a student of Paul Renner and Emil Preetorius. From 1923 until his premature death, Jost served as the art director for Bauer, during the type foundry’s most successful years, overlooking the release of his former teacher’s Futura. Issued in 1926, Atrax was Jost’s first published type design of his own. It was followed by Beton and Bauer Bodoni, among others.

The name of the author is added in all-caps Futura fett.

On the title page, the book’s title is set in Goudy Open. The designer apparently didn’t like this typeface’s zero, which is a monolinear circle, and used the lowercase letter o instead (in his own book, Goudy agreed).

Most of the smaller text is set in Janson, apparently using the version by Mergenthaler Linotype. Judging from the narrower Z in “ZANE”, the heading at the top of the left page is set in Monotype Janson, though. The publisher’s name at the bottom right looks like it’s Mergenthaler Linotype’s Garamond (No. 1), a design based on Stempel Garamond.

He’s not so good in a crowd but when you get him alone
You’d be surprised,
He isn’t much at a dance but when he takes you home
You’d be surprised

Sheet music of Irving Berlin’s 1919 song released to capitalize on the success of a 1940 cover by Bonnie Baker with Orrin Tucker and His Orchestra.

The song title and songwriter are in Phenix American, with faux small caps, while “By” is added in Quick. All other text is hand lettering.

Serge Lutens “Bell Jar” fragrance packaging (c. 1992 – c. 2000)

Serge Lutens is an iconic niche perfume house with a devoted following. The fragrance line that bears the founder’s name was born of a series of collaborations with Shiseido, a Japanese cosmetic company. After Lutens served as olfactive director for such fragrances as Nombre Noir (1982) and Féminité du Bois (1992), Shiseido opened Les Salons du Palais Royal Shiseido to sell his fragrance creations in a Parisian boutique.

Over the years, the specific branding of these fragrances has transformed as the Serge Lutens brand gradually replaced the Shiseido labeling. The fragrances themselves remained consistent.

There have been two major revisions to primary and secondary packaging for a total of three distinct presentations. The initial packaging featured a color scheme of ivory and two shades of violet. The details on the box and label featured Shiseido, the brand’s corporate typeface with the distinctive S glyph for any occurrences of this letter in the fragrance’s name and Palais Royal Shiseido Paris. The volume declaration uses Optima, partly with stretched proportions.

The first revision occurred c. 2000 and introduced a major redesign. The color scheme was switched to black, ivory and grey and Serge Lutens’ name appeared on the packaging along with a stylized rendering of the façade of Les Salons du Palais Royal Shiseido. All text on the packaging is rendered in Cochin. Again, the scaling of glyphs in the volume declaration has been adjusted; in this presentation, the horizontal scale is set at 50%.

The second revision occurred in 2010. Compared to the previous revision, this revision is less dramatic. This version also features the most typographic variety. The color scheme was adjusted and elements that had previously been ivory have been changed to a light violet. Serge Lutens is rendered in Nicolas Cochin. The fragrance name is rendered in Caslon Openface (Bitstream’s version). As there is no italic or oblique version of this typeface, the glyphs have been sheared at approximately 15 degrees to simulate italics. The rendering of the Palais Royal Shiseido has been replaced with a stylized rendering of Serge Lutens’ initials. The text below this logo reading “Paris” is rendered in Nicolas Cochin. The fragrance concentration and volume disclosure remain as they were in the previous design, rendered in Cochin with the scaling of glyphs in the volume declaration still adjusted to a horizontal scale of 50%.

Serge Lutens “Bell Jar” fragrance packaging (c. 2000–2010)

Serge Lutens “Bell Jar” fragrance packaging (2010–)

In Amsterdam’s excellent music recording studio IJland, a Telefunken Magnetophon M5 broadcast or studio deck is used to “glue” digital audio mixes together by using old hardware. It has a magic touch with music production.

The Magnetophon tape recorder was one of the first recording machines to use magnetic tape in preserving voice and music. The brand name Magnetophon – introduced in 1935 by AEG and later continued by Telefunken – became the generic word for the tape recorder in a lot of languages. On this device, it’s shown in outlined script letters based on Signal.

Established in Paris by architect, designer and photographer Alexander Nino, Studio Asac is an interior design practice, furniture advisor and private antique dealer. Lareu & Gonzales – previously known as Horror Vacui Studio – were inspired by lettering from an engraver’s pattern from the early 1920s. They created a crisp, geometric semi script logotype, based on the font Adonis which was designed by Willard T. Sniffin in 1927.

Additional fonts in use include Biondi, Ray Larabie’s interpretation of Copperplate Gothic, Georges Peignot’s Nicolas Cochin, and Sigmund Freud Typeface, Harald Geisler’s digitization of the Austrian neurologist’s handwriting.

Comstock, a contoured variant of Standard Gothic, was used in yellow caps for the debut album by The Kingston Trio, released by Capitol Records.

According to Wikipedia,

The Kingston Trio was one of the most prominent groups of the era’s folk-pop boom, which they kick-started in 1958 with the release of the Trio's eponymous first album and its hit recording of “Tom Dooley”, which became a number one hit and sold over three million copies as a single. The Trio released nineteen albums that made Billboard’s Top 100, fourteen of which ranked in the top 10, and five of which hit the number 1 spot.

[More info on Discogs]

Undated poster (c.1970) with the weekly program of Teatar &TD. The logo is introduced with a fine manicule. Stencil is also used for the days of the week. Dates are in Schmale Herold, names of plays in Blippo and Helvetica, and times in Annlie Italic.

Ivo Brešan – Predstava Hamleta u selu mrduša donja, općine Blatuša, 1971. Brešan’s name is in a variant of Broadway, distinguished by closed counters in B, a straight leg in R, a centered middle bar in E, and more small adjustments. I assume this is Roaring Twenties, with modifications [edit: or rather Trio Serie A, see comments]. The title combines Handels-Cursief a.k.a. Elvira, Murillo, a hand-rendered (?) version of Bernhard-Antiqua extrafett (or Lo-Schrift?), and Schmale Herold.

Charles-Ferdinand Ramuz & Igor Stravinsky – Priča o vojniku (L’Histoire du soldat), 1971. The title is in Sea weed, with a custom-added flat diacritic. The names above use all-lowercase Helvetica and all-caps Century Expanded.

Luigi Pirandello – Henrik četvrti (Enrico IV, 1922), 1972. “ITD Galerija” is in Thorne Shaded, “Pirandello” in Smoke, “Henrik” in Sezession, and “četvrti” in Helvetica, again with a horizontal bar as caron.

Georg Büchner – Woyzeck (1836/1913), 1972, with overlayered Thorne Shaded and Torino Italic for “büchner”

Heiner Müller – Filoktet (Philoktet, 1965), 1972. The title uses Roaring Twenties, with giant EndcapS. The playwright’s name is in lowercase Torino Italic.

Peter Nichols – Jedan dan u smrti male Joe (A Day in the Death of Joe Egg, 1967), 1972. Helvetica and Bookman Swash Italic are used for the title and Century Expanded for “Nichols”.

Harold Pinter – Stara vremena (Old Times, 1971), 1973. The geometric hairline caps are from Walter; “Pinter” appears to be in Prismania Thirteen.

Zvonimir Majdak – Kužiš, stari moj starring Mladen Budišćak, 1973. Caps from Schmale Herold are paired with another Berthold release: “majdak” is set in Normande Condensed.

Eugène Ionesco – Lekcija (La Leçon, 1951) / Slobodan Šembera – Vrijeme za gastritis (1971), 1973, with titles in Jim Crow and Baby Arbuckle

Cover of a savings account passbook issued in 1910 by the Städtische Sparkasse München (“Municipal Savings Bank Munich”), today known as Stadtsparkasse München. The monk-like figure is the Münchner Kindl (“Munich child”) from the city’s coat of arms.

“Sparkasse” is set in Aurora, a Jugendstil sans issued by Ludwig & Mayer around 1900. Its round terminals imitate the Quellstift, a monolinear writing tool promoted by Rudolf von Larisch. “Städtische” and “München” are in Woellmer’s Breite halbfette Grotesk@ from around 1892. Zeitungs-Grotesque is used for emphasis.