Fonts from the Flea Market 1343

Two Mecanorma releases from 1969, combined in early use on the cover of a single with medleys of nine golden rock ’n’ roll oldies performed by The Dave Clark Five. The band name is in the Roller-inspired unicase face Dreamline; the bottom-heavy style used for the title is the caps-only Laurent follower Poster.

[More info on Discogs]

This is a Danish single by Billie Davis featuring the two songs “I Can Remember” and “Nobody’s Home to Go Home To”. It was released in 1969 on Decca Records. Her name is in Folio extrafett with both her 2 songs in Compacta Bold

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This split album released by Colpix Records in 1964 contains six early songs by the Chad Mitchell Trio on the A-side and six by the Gatemen on the B-side. The name of the former, a vocal group formed in 1958 in Spokane, Washington, is shown in Rosenblum Zetzinkup. This animated semi-slab with contour was drawn by Richard Rosenblum and added to Photo-Lettering’s library shorty before.

Found by John, who is currently tracking down Uses for some of the ten typefaces designed by Rosenblum.

[More info on Discogs]

NG Records and Early Sounds recordings, are proud to announce the first volume of “Napoli Segreta”, a compilation of the rarest and invisible compositions of the 70’s and 80’s Neapolitan disco and funk scene.

For this project we opened the old chest of our photos, finding the perfect wrong one for the beautiful cover designed by Riccardo Corda and some other very good for presenting the whole work. Not last, we had again more fun in designing a special gift included in the LP, and some other cool goodies. Dopolavoro

The artwork for the first – and so far only – volume of Napoli Segreta (“Secret Napels”) is not shy of nodding to the 1970s/1980s. From the faded generic cover image and deliberately “simple” layout where everything is framed in boxes with rounded corners, to the typography that uses three typefaces from around 1970: it shows that the designer(s) had a lot of fun.

“Napoli Segreta” is set with Domino, a design by two (brothers or sisters?) Demarchi. The design was a winner in a Mecanorma typeface design contest in 1972. Domino came in a solid and an outline version. [Domino was likely issued only in an outline verion, see comments]. The subtitle uses outlined Blippo (1969), a sturdier typeface from the same genre. To top things off, the album was launched with a limited edition soft drink with a variation on the cover typography, paired with a moustached Italian stallion and a line using Busorama (1970): “La vecchia camomilla ha dato il posto a...”.

The typeface on the sleeve of Al Green’s third studio album Gets Next to You from 1971 is named Marvin. Here it’s used with swashes and a long shade.

Marvin was designed by Bob Quinzel for Schaedler, a phototype and lettering studio in New York. Among the other typefaces that originated at Schaedler are the Alpha series (Hiroshi Yamashita, 1970), Loose New Roman (John N. Schaedler with Ray Cruz, late 1960s), and Tabasco/Paprika (early 1970s).

Marvin is shown in their 1968 catalog (kudos to Ray Cruz for sharing!) and was advertised the same year. It thus came a tad earlier than the other Marvin which was designed by Mick Chave for Face Photosetting London in 1969. Schaedler’s Marvin doesn’t have a lowercase, but it includes one to two swash alternates for most of its menhir-shaped letters. The catalog shows an outlined variant dubbed Marvin’s Ghost. As with most faces from the phototype era, there are numerous copies and clones of Marvin. Its aliases include “Berger” and “Basso”. I’m not aware of a proper digitization.

These posters advertise shows from the 1972–73 world tour to support the Volume 4 album. From what I can tell, this design only appeared on German posters, though the wordmark was later used for commemorative merchandise like t-shirts.

Doesn’t Marvin seem quite warm and cuddly for a heavy metal band?

Cover for The Flying Burrito Bros’ The Gilded Palace of Sin LP on A&M Records

Vol. 6, No. 1, 1977

The logo of this long-running publication on pottery is set in Introspect, a typeface released in 1971, the year before Studio Potter’s founding. The first issue used the regular style and later, around 1975, the magazine switched to Introspect Open, an outline version of the typeface, which revealed more of the cover art..

Vol. 1, No. 1, Fall 1972

Winter 1975/76

Summer 1974

Vol 5, No 2, 1976