I've just found this magazine from Peru in Budapest, only God knows why.

Textual is the journal of the Peruvian National Institute of Culture. Concerned with literature, humanities, and arts, it was published between 1971 and 1975. CEDOC (Centro de Documentación de la Biblioteca Central UNMSM) has digitizations of all ten issues. The logo is based on Amelia, in lowercase letters and with filled-in counters.

Number 9 is dedicated to philosopher, educator and journalist Augusto Salazar Bondy (1925–1974). Display typefaces used in this issue include Michel, Thalia, and Ludlow Garamond. Body text is set in Helvetica and Permanent, with drop caps from Neo Script.

Thalia with enlarged and descending caps

Colophon (left) and a black-and-white version of Salazar Bondy’s portrait as seen on the cover (right)

All-caps Michel and Thalia in mixed case

More Michel caps combined with pre-Columbian symbols

Text in Helvetica is printed on top of the title in reversed caps from Michel

A mix of caps and lowercase letters from Thalia for “Educación”

This creature apparently is a raptorial bird as depicted by members of the Chavín culture

Spread with drop caps from Neo Script

Detail from the colophon, with text set in two weights of Permanent

Rotated Ludlow Garamond for “Bibliografía”

1976 edition

A Wrinkle in Time by Madeleine L’Engle (1918–2007) was rejected by at least 26 publishers before Ariel Books finally accepted it in 1962. The science fiction novel went on to win the Newbery Medal, the Sequoyah Book Award and the Lewis Carroll Shelf Award, has sold over ten million copies, and was made into a movie twice.

Shown here is the 1976 paperback reissue by Dell/Laurel-Leaf as featured in the fifth season of Stranger Things: it’s the edition owned and cherished by Holly Wheeler (played by Nell Fisher).

“Now, don’t be frightened, loves,” Mrs. Whatsit said. Her plump little body began to shimmer, to quiver, to shift. The wild colors of her clothes became muted, whitened. The pudding-bag shape stretched, lengthened, merged. And suddenly before the children was a creature more beautiful than any Meg had even imagined, and the beauty lay in far more than the outward description. Outwardly Mrs. Whatsit was surely no longer a Mrs. Whatsit. She was a marble white body with powerful flanks, something like a horse but at the same time completely unlike a horse, for from the magnificently modeled back sprang a nobly formed torso, arms, and a head resembling a man’s, but a man with a perfection of dignity and virtue, an exaltation of joy such as Meg had never before seen.

In 2023, Amory Sivertson of WBUR’s Endless Thread podcast was able to finally identify the artist responsible for the cover art: it’s Richard Bober (1943–2022). The designer who did the cover typography featuring all-caps Robur continues to be uncredited.

[More info on ISFDB]

The title page is set in Ludlow Garamond Bold.

1980 printing

Holly Wheeler reading her copy of A Wrinkle in Time in Stranger Things, Season Five, set in 1987

Paperback edition of Henrik Ibsen’s Peer Gynt, Signet Classics CP215, 1964. The cover art is by Seymour Chwast, featuring (a phototype version of) Page’s No. 500. “A Signet Classic” uses Caslon Extra Condensed.

Aaron Burns, best known for founding ITC, was first a practicing designer, creating collateral for industry firms like the Composing Room and the Issac Goldmann Company. He was a big fan of ATF’s gothics (News Gothic Extra Condensed and Lightline) and Latin Wide. The IG logo appears to be based on Umbra (a shadow version of Tempo). These ads, including process sketches, were published as part of the Lubalin 100 celebration.

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Shortly after being sentenced to jail time for the Eros periodical he started with Herb Lubalin, Ralph Ginzburg launched Fact magazine in 1964, again enlisting Lubalin as art director. Fact focused largely on political issues and was known for its scathingly satirical takedowns of everyone from Bobby Kennedy to Reader’s Digest to the entire American automobile industry (a young Ralph Nader contributed research on that topic). One issue focusing on the mental fitness of conservative presidential candidate Barry Goldwater even led to a lawsuit and eventually the closure of the publication.

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Following the hard-hitting style of the content, the publication’s design is similarly stark and upfront. Especially with the earlier issues, the covers were mostly simple, monochrome, no frills, and purely typographic – using very basic but well-considered settings of Times. Later issues would feature other common typefaces, with only a couple utilizing custom lettering.

As Alexander Tochilosky describes it for Flat File:

Economy was essential for the magazine’s budget, so Lubalin chose a small black and white format. The inside layout was a simple, quiet, two-column grid of Times Roman. The tone however was set by the striking, bold and text-only covers. Lubalin understood that Fact magazine was all about the attitude, and as a great art director knew when design should take a step back.

In typical Lubalin style, many of the covers are set with “TNT” (tight-not-touching) spacing, often with the text filling the page as large as possible.

Most of the type for the magazine appears to come from versions of common typefaces as offered by either Photo-Lettering and/or Aaron Burns & Co, Inc. This isn’t particularly surprising given that Lubalin often worked with Burns and Photo-Lettering’s founder, Ed Rondthaler. (Lubalin, Rondthaler, and Burns would eventually team up to launch ITC in 1970.) A promotional photo of Ginzburg and Fact co-editor Warren Boroson even shows a type specimen booklet from Aaron Burns & Co, Inc. scattered among rulers, sizing gauges, and previous issues of Fact.

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A photo of Ralph Ginzburg (standing, with hat) and Warren Boroson from an ad for The Best of Fact in the final issue of Fact magazine shows a type specimen book from Aaron Burns & Co., Inc.

In Tochilovsky’s write-up of Fact, he also describes the simple ingenuity of Lubalin’s design for the publication’s logo:

It was drawn by Tom Carnase, and based on Caslon 540—with the ‘f’ slightly modified to mimic the ‘t’. But the ingenious part is the addition of the colon. It’s not part of the name, but was Lubalin’s graphic invention. It’s genius because it makes you read the headline of the cover beginning with the word “fact”.

Below are all 23 covers of Fact, including both cover variants for volume 2 issue 2. The scans were made from originals in the Herb Lubalin Study Center of Design & Typography at Cooper Union. Many thanks to Alexander Tochilovsky for being so generous with the Center’s materials.

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License: All Rights Reserved.

Joey Adams invites Dr. Martin Luther King, Jr. to attend the AGVA Youth Fund dinner featuring Danny Stradella.

The sans serif at the top and bottom of the letterhead is Vogue. The rest of the document uses Spartan (or Futura).

One of my favorite books, discovered as an adult, but wish I had as a child. From the jacket:

Suzanne Heller, whose first book this is, is a New Yorker born and bred, a Sunday painter, employed by a New York law firm — and someone who hasn't forgotten what it's like for kids.

Book design: Arouni (AKA Lynette Arouni Logan)
Publisher: Paul S. Eriksson, Inc