Web design for a special collection page for The North Face Japan and Blue Giant.

Blue Giant is a Japanese jazz-themed manga series by Shinichi Ishizuka, with Blue Giant Explorer being the title of the third series started in 2020. The design by Tomomi Maezawa uses Alternate Gothic and Clarendon (URW), inspired by the typography of vintage jazz records. The Japanese text is rendered in Chu Gothic BBB.

Two concert posters for a concert by Bob Marley and the Wailers show the same typography and venue, yet the concerts are from different tours.

The 1977 poster was made for an Exodus Tour concert in the Paramount Northwest Theatre in Portland, Oregon on July 24 (the theatre closed down in 1984). According to Wikipedia, a toe injury of Bob Marley forced the United States concerts for this tour to be canceled – the concert advertised on the poster never happened. In the summer of 1978, Marley visited North America during his Kaya tour. This time, the canceled concert was finally performed, and recorded.

Two weights of ITC Korinna are used for the main information – tightly spaced in 1977, loosely spaced in 1978. Maybe due to the rescheduling of the concert, the date on the 1977 poster uses Clarendon. The bottom half of the poster was set in Univers in 1977, Helvetica was used the next year.

“Old Fashioned” (No. 166) features two Western-style typefaces that probably originated at Filmotype in the 1960s. They’re both shown in an undated c.1974 Filmomaster specimen, as Van Horn and Quincy. The latter is also known as Amanda.

Covers for various clip books of line art issued in 1968 by Harry Volk Jr. Art Studio, Pleasantville, New Jersey. See the previous post about the clip books issued in 1955 for more information on Harry Volk Jr. Art Studio.

The bottom lines use Alternate Gothic Compressed and Univers.

“Holidays” (No. 167) ft. Gonzales Jeanette with a custom star dot that echoes the fuse.

“Expressions” (No. 168) ft. Reklame. This old German typeface was adopted by Photo-Lettering and shown in their 1971 catalog as Reclame. The punctuation is from Pistilli Roman, see the comments.

“Strength” (No. 170) ft. West Behemoth with tight and overlapping spacing and the monocular g.

“Telephones” (No. 171) ft. Filmotype Gamma.

“Religion” (No. 172) ft. Baker Chalone.

“Entertainment” (No. 174) ft. Norton Vaudeville.

“Contests” (No. 175) ft. Eurostile Bold Extended.

“Atmosphere” (No. 480) ft. Playbill.

“Direct Mail” (No. 481) ft. Univers, Venus Extended, and Franklin Gothic Wide.

“America” (No. 482) ft. Egyptienne Bold Condensed.

“Summer” (No. 483) ft. Chwast Art Tone on an angle.

“Marine” (No. 484) ft. Kalligraphia.

“Western” (No. 485) ft. Bookman Swash Bold Italic

“Autumn” (No. 486) ft. Staudel Xenotype J.

“Science” (No. 487) ft. Britannic.

“Fall & Winter Sports” (No. 488). This narrow grotesk looks a lot like an outlined version of Schmalfette Grotesk, or maybe PLINC’s adaptation Swiss Gothic, but it seems the ampersand doesn’t match. Any insights are welcome. The same outlined style appears on Volk covers from 1964 and 1974, while the “Law & Order” booklet from 1966 uses the similar Permanent Headline.

“Transportation” (No. 489) ft. Permanent Headline.

“Christmas” (No. 490) ft. Inserat-Grotesk.

“Couples” (No. 492) ft. Whimzitype 3600. Illustration by Tom Sawyer.

“Groups” (No. 494) ft. Futura Light.

“Insurance” (No. 495) ft. Permanent Massiv. The small text on this cover is set in Helvetica.

“Occupations” (No. 497) likewise shows light caps from Futura. Illustration by Tom Sawyer.

“Women” (No. 499) ft. Smoke in all caps.

“Money” (No. 500) ft. more Futura Light.

“Spring & Summer Sports” (number unknown), ft. Eurostile.

“Register and Vote” from the Paste Pot & Scissors subseries (No. PP 105), ft. Pacella Monitor and Franklin Gothic. The small type at the bottom is in Eurostile.

“Announcers” from the Paste Pot & Scissors subseries (No. PP 107), ft. Photo-Lettering’s West Behemoth Italic Swash with swash alternates and overlapping glyphs.

“Luck” from the Paste Pot & Scissors subseries (No. PP 108), ft. Mansard (with contour), another face available from Photo-Lettering. It might also be Jim Dandy, a contoured variant of Slim Dandy by Lettergraphics.

“The Year” (No. PP109) ft. more all-caps Smoke, here with its peculiar Y.

“Clichés” (No. PP110) ft. Palette on an angle as well as an early use of PLINC’s Ballard.

“Borders” (No. PP115) ft. Clarendon caps.

“Honey West in the case of the syndicate of sin.”

Dig a Dead Doll was published as Pyramid Books G560 in 1960. It’s the seventh novel in the Honey West series created by the married couple Gloria and Forest Fickling, writing under the pseudonym G.G. Fickling. Cover art by Robert Maguire. The yellow caps are from Filmotype Portly. Note how they are partly covered by the illustration (see flat depth).

Two posters and an advertisement for a 1970 movie about Australian bushranger Ned Kelly.

The film production faced setback after setback: there were protests against the film location and against Mick Jagger as lead actor; Jagger broke up with his girlfriend and co-star Marianne Faithful, who subsequently took an overdose and had to be replaced; Jagger was accidentally hit by a gunshot, there was fire, illness, and more misfortune. Nonetheless, the movie was finished and released – and not received well:

As the ill-fated titular hero, Mick Jagger, the rock singer, with a beard that makes him appear more Amish than Australian, is, sadly, simply a dour renegade who rarely becomes the “wild colonial boy” of the legend. Only a few members of the large supporting cast, notably Clarissa Kaye, as his mother; Janne Wolmsley, as his girl, and Martyn Sanderson, as a villainous Irish constable, are momentarily meaningful. “Such is life, Mick Jagger flatly states before being hanged, an observation that can’t quite be applied to “Ned Kelly.” — A. H. Weiler, The New York Times

The movie poster typography uses a set of fonts with roots in wood (poster) type. Coincidentally or not, it looks like the unknown designer picked the same typeface combination for the big type as used for the album cover for Bob Dylan's 1964 album The Times They Are A-changin': “Mick Jagger” is set with tight-not-touching Gothic (Nesbitt), with diagonally cut terminals. The blocky type with its nearly-touching slabs used for the movie title is probably Antique. The smaller text is set in Clarendon.

An alternate poster shows the same typography and the same split screen / split personality image concept but this time it is executed as an illustration, with some extra guns and death.

Advertisement with the same lettering used for “Mick Jagger” and a better view of the rare sight that is Jagger with a beard; movie title set in Volta Bold, credits and blurb set in Univers.

Jennifer Morla, cover design for Moon Zappa’s novel, America the Beautiful, Random House Dell, 1999

Scattered letters both large and small are set in Clarendon for Moon Zappa’s semi-autobiographical romance novel, America the Beautiful (1999).

In July 2018, Jennifer Morla donated her archive to Letterform Archive who just launched Morla : Design, a monograph of her work.

Jennifer Morla, cover design for Moon Zappa’s novel, America the Beautiful, Random House Dell, 1999

Inimigo Público (“Public Enemy”) is a series of political protest and memory wheatpaste posters. In an electoral year (2018), probably the most challenging for Brazil in recent years, it's very important to remember who said what and who has already clearly stood against the people. Every list is an edition, this is ours.

The first part of the series, produced by Vertentes Coletivo, consists of four posters. They present João Dória Jr. ("Poor people have no food habit"), Geraldo Alckmin ("There's no shortage of water in São Paulo"), Michel Temer ("We need to keep it going"), and Jair Bolsonaro ("I won't rape you because you don't deserve it").

Their words are framed in big and sturdy straight quotes, with the quote's source set in smaller type below it. Both quote and source are set in Clarendon. The background is pack-jammed with large letters forming the words Inimigo Publico, set in David Jonathan Ross’s typeface Fit.

The posters are being spread all over the streets of São Paulo.

“There’s no shortage of water in São Paulo”

“I don't rape you because you don’t deserve it”

“Poor people have no food habit”

“We need to keep it going”

See Red Women’s Workshop was a feminist collective of visual artists in Britain. Read more in Feminist Posters 1974–1990.