Issue 24, (vol. 5, no. 1), summer 1970, with stories by Piers Anthony, George H. Smith, Keith Laumer, Noel Loomis, and others. [More info on ISFDB] The secondary typeface is similar to Folio Condensed.

Worlds of Tomorrow was an American science fiction magazine first published by Barmaray Co. in 1963. It was later picked up by Galaxy Publishing as a companion to Galaxy, and merged into If in 1967. The magazine briefly resumed publication from Summer 1970 to Spring 1971, producing three issues edited by Ejler Jakobsson.

For this fifth volume, art director Franc L. Roggeri introduced a new logo featuring Pousse Cafe in a cartouche. Robert Montgomery’s dimensional Art Deco face is combined with wide sans-serif caps that could be a number of things, including a phototype version of Standard Extended (a.k.a. Akzidenz-Grotesk breit) with an F with bars of equal length. The cover art for all three issues was provided by assistant art director Jack Gaughan.

Issue 25, (vol. 5, no. 2), winter 1970, with stories by Keith Laumer, Dean R. Koontz, Gary K. Wolf, John Jakes, Neal Barrett, Jr., and others. [More info on ISFDB] The secondary typeface is Stymie Bold Condensed.

Issue 26, (vol. 5, no. 3), spring 1971, with stories by William Rotsler, Sydney Van Scyeoc, Roger Dee, and others. [More info on ISFDB] The secondary typeface is Venus Bold Condensed.

Grand Funk is the second studio album by Grand Funk Railroad, released at the tail-end of 1969 by Capitol Records.

From Wikipedia:

Recorded at Cleveland Recording Company, the album was produced by Terry Knight and engineered by Ken Hamann. The album was certified gold by the RIAA, the first for the group. It includes a cover of the Animals’ 1966 song “Inside Looking Out”, which is still a staple of the band's live concerts.

The title on the front cover is set in Tension, a crop-and-repeat condensed geometric face offered by Photo-Lettering.

The credits on the back cover are set in Helvetica (regular). The group members' names on the inner gatefold are also set in Helvetica, with the credits underneath set in Linotype’s Garamond No. 3 (italic), a revival of Garamond.

[More info on Discogs]

Billie Davis’s self-titled debut album from 1970 was released by Decca Records. The album is a mix of genres including pop rock, beat, mod, and soul music. Her name is set in caps from Koster

[More info on Discogs]

Secondary information on the Munich poster is set in Helvetica schmalhalbfett. This concert didn’t take place at the mentioned location, but was moved to the Sporthalle in Böblingen.

Alpine Black is an obese display face that originated at Photoscript in London about 1970. In 1972, it was reproduced in the fourth volume of the Swiss Lettera alphabet book series, making it more widely available.

The same year, Eri Foerster used it for a series of concert posters by Pink Floyd. Printed in black, they advertised shows played in Germany, organized by Mama Concerts.

The band photograph by Storm Thorgerson and Aubrey Powell of Hipgnosis featured previously on the gatefold of the 1971 album Meddle.

In addition to the posters shown here, the series also includes similar ones for Hamburg (November 12), Düsseldorf (Nov. 14), Böblingen (Nov. 15), Frankfurt (Nov. 16 and 17), all of which can be seen at The Pink Floyd Archives. The poster design with Alpine Black was referenced for the cover of a bootleg recording of the show in Böblingen.

The show in Berlin’s Deutschlandhalle took place half a year before the others, on May 18. Secondary information is here set in Kabel [or rather Monotype close copy, Sans Serif, see comments].

Two years after 1970’s Doing the Push & Pull at P.J.’s, Stax Records released Rufus Thomas’s Did You Heard Me? album, the fourth out of many forthcoming albums. Allan Ulmea Studios is credited for front photography, and David Krieger / The Graffiteria for the album’s cover design, which uses Davison Bimbo in the “Contour A” style, with a green/teal fill. Additionally, art direction was handled by Larry Shaw and Ron Gorden.

[More info on Discogs]

Track names and credits on the back are set in two weights of Folio.

One of PLINC’s Bookmans with swashes, namely Bookman Italic Swash Bold 6, in use for a flowery record cover from 1970. Recorded by The Lennon Sisters with Lawrence Welk and his Orchestra, it was released by Vocalion Records. The four sisters first appeared on the The Lawrence Welk Show on Christmas Eve 1955, and were a fixture on the TV show for more than twelve years.

[More info on Discogs]

Gast Studio is a creative agency based in Amsterdam, specializing in CGI imagery. Its founder, Jean-Baptiste Castel, entrusted eschenlauer sinic for the design of their logotype.

We proposed a revival of the Serif Gothic typeface, originally designed by Herb Lubalin and Tony Di Spigna in 1972 for ITC. This revival, Tikgo, created by Benoît Brun in 2019, is distinguished by the emphasis on the geometric properties of the original design. It is a typeface that combines the simplicity of a Gothic with the elegance of a Roman, illustrating the versatility and range of the studio's practices.

The Moonstone, an early example of the modern detective novel, was written by Wilkie Collins in 1868. It tells the complex story of the theft and recovery of an Indian diamond in colonial England and takes a critical look at social and political issues. An authorized German translation by Emil Lehmann was published as Der Mondstein as early as 1869. Another one titled Der Monddiamant appeared after the copyright expired in 1949, when Hera-Verlag published a “free adaptation” by Siegfried H. Engel.

This jacket is for a book club edition published by Deutscher Bücherbund in 1974. The title is in the Demi weight of ITC Souvenir, stacked and interlocked, with a lowered i dot and a swash initial D. The pre-digital ITC Souvenir came with a number of swash alts, but I don’t think I’ve ever seen such a D. Did the designer repurpose the swash of a different glyph and graft it onto the D?

The setting of the author’s name is interesting, too: it’s Letraset’s adaptation of Desdemona which is distinguished from the foundry versions by various details, including the W without crossing diagonals. Apart from an alternate S, it didn’t come with any extras. This suggests that the smaller, raised O and the nested double L are customizations.

Of Orc-Rags, Phials, & A Far Shore: Voices of Paradise in The Lord of the Rings by Bruce Palmer. T-K Graphics, Kansas City, Missouri, 1976. The title is in Book Jacket by Ursula Suess, used with various alternates, including two forms for n s A C L P R S. The price is added in Eurostile Bold.

These four pamphlets were issued by T-K Graphics between 1974 and 1977. The covers are printed in black on colored paper and feature typefaces that all seem to stem from the catalogs of VGC, ITC and Letraset.

Fanlore has a page about this publisher:

T-K Graphics was a distributor/retailer of pro books, but it is more well-known for publishing fan-created chapbooks and other amateur zines.

It was based in Baltimore, Maryland was founded in the early 1970s, perhaps earlier.

Via jell-o biafra says, a great (but sadly dormant) Tumblr for all things pulp, pop and underground.

The Drama of Ray Bradbury by Ben P. Indick. T-K Graphics, 1977. [More info on ISFDB] The title uses outlined caps from ITC Souvenir, with a timid swash initial. The author’s name is in Peignot, the price info in Book Jacket.

Middle Earth: A World in Conflict by Stephen O. Miller, with illustrations by James Shull. T-K Graphics, 1975. [More info on ISFDB] ITC Ronda is used in lowercase letters from the Bold, with alternates for a e r. The other fonts are Eurostile Light Extended, Grotesque No. 9 Italic, Windsor, and ITC Bolt.

An Arthurian Concordance by Dennis Lerond, with illustrations snagged from Aubrey Beardsley. T-K Graphics, Baltimore, 1974. [More info on ISFDB] Libra is paired with wide caps from Folio. The author’s name is added in Univers Condensed, the price info appears to be in Venus Extended.

From Wikipedia:

El Ídolo de Mexico is an album by Mexican singer Vicente Fernández, released in 1974 by CBS. In 2015, it was selected by Billboard magazine as one of the “50 Essential Latin Albums of the Last 50 Years”.

[More info on Discogs]

Permanent Headline with its non-descending y in use on the cover of “a wildly erotic novel of intrigue, suspense, and adventure”, written by Basil Heatter (1918–2009). From the back cover:

There's a lot to be said for my Uncle Harry. Mostly unprintable. All my life I'd heard about him, and from a distance he was kind of a legend. But the moment I signed on as a one-man crew to his beat-up old bucket, Jezebel, I found my hero was really a pirate. Broads and booze kept him afloat between capers—and so far, his luck was holding …

But this new harebrained scheme—to heist the loot from an island gambling casino—was the daffiest—and most dangerous—yet.

And there I was. Right in the middle. Up to my virginal ears in naked nymphs and nitrous oxide—with nothing between me and the future but a leaky getaway and a pot of gold that was fast disappearing behind Harry’s private rainbow.

Cover art by Robert McGinnis. No typographer is credited.

The second book by Gerald Jay Goldbert (1929–2020), The National Standard was first published by Holt, Rinehart and Winston in 1968, with a jacket design by Milton Glaser.

Shown here is a different edition; Ballantine’s paperback from 1972, with uncredited layout and typography. Alex Gnidziejko provided the cover art. Title and author name feature Jazzbeau, released in the early 1970s as part of Photo-Lettering’s Decotypes. The synopsis is set in Vogue with its alternate monocular a.

Here’s one for Javi, who’s fond of West Fantini.

Dave West’s slick standalone italic with swashy caps was used for the cover of The Leftovers Cookbook. First published in 1969 by David White, this is Grosset & Dunlap’s abridged paperback edition from 1972. It has the same cover illustration by Loretta Trezzo, who also might have done the typography.

The debut album by American singer George McCrae (b. 1944) was released in 1974 by T.K. Records. It opens with the number one hit single “Rock Your Baby”. From Wikipedia:

Written and produced by Harry Wayne Casey and Richard Finch of KC and the Sunshine Band, “Rock Your Baby” was one of the landmark recordings of early disco music. […] The chord progression of John Lennon’s number-one single “Whatever Gets You thru the Night”, released a few months later, bears a great resemblance to the one found in “Rock Your Baby”. Lennon later admitted to using the song as an inspiration […]  ABBA’s Benny Andersson and Björn Ulvaeus have also cited the song as an inspiration for the backing track of their 1976 smash hit “Dancing Queen”.

“Rock Your Baby” is in all-caps, set in Neil Bold, and “George McCrae” uses a drop-shadowed version of Lazybones, with a custom terminal swash. Design by Drago Fernandez, with photography by Antonio Carlin.

Text on the back cover is set in Futura and a second, yet unidentified sans.

First published by Gallimard in Paris in 1964 under the title Une mort très douce, this autobiographical book covers the time Simone de Beauvoir spent visiting her aging mother, who was dying of cancer. Patrick O’Brian provided the English translation. Shown here is the paperback edition published in the Warner Paperback Library in August 1973.

The display typeface is Benguiat Caslon, set stacked and interlocked with a lowered B, and used with swash caps. Around the same time, Bantam employed a similar typographic setup for their Philip Roth paperbacks.

In the late 1960s and early 1970s, the renewed interest in Art Deco spawned a number of typefaces with perfectly circular rounds. Since other letters are kept much narrower, those designs have an interesting (if agitated) look. Among monolinear sans serifs, this includes Epic (1968), Queen (1969), Herculoid (1970), and ITC Busorama (1970). In 1972, VGC released their addition to the genre: Organda, designed by Franz Heigemeir.

In 1974, Organda was used on the cover of an anthology titled School and Society Through Science Fiction, compiled by Joseph D. Olander, Martin Harry Greenberg, and Patricia Warrick. The design is uncredited. Chances are it’s by Todd Sanders, who designed a related cover for a book by the same authors, also published by Rand McNally in 1974.

[More info on ISFDB]

The medium weight of Organda, with alternates, as shown in VGC Alphabet Library, 14th ed., 1988.

Some of the ultrageometric, spurless “Bauhaus” faces of the late 1960s and 1970s came with a buckload of alternates, see for example Blippo. Pump was not among those. Bob Newman’s 1970 design for Letraset offered no extra glyphs whatsoever.

That didn’t stop resourceful designers to expand on its repertoire. Günther Kieser built some alternate swash caps himself: he unceremoniously extended the R’s leg by attaching the lower part of an L, and engrafted half an S onto the right arm of the Y. The A and S were created in a similar fashion. The hands-on nature and materiality of rub-down lettering facilitated such repurposing and recombination.

For the pictorial part of the DIN A1 poster (60×84 cm), Kieser opted for a similarly playful approach, and doubled Ray Charles’s trademark sunglasses and his smile by means of photomontage.

“The Genius of Ray Charles Show ’71” by the Ray Charles Orchestra featuring the Raelettes (here spelled Raeletts) was presented by Norman Granz. The concert at the Philipshalle Düsseldorf (today known as Mitsubishi Electric Halle) on September 22, 1971, was the only tour stop in North Rhine-Westfalia. The same poster design was used for the show at Musikhalle Hamburg two days later, as well as for the gigs in Frankfurt (October 16), Geneva (Oct. 23), and probably other locations.

Letraset instant lettering sheets with the uppercase letters and numerals (2437) and the lowercase letters (2438) of 72pt Pump

Third novel by American writer Don Carpenter (1931–1995), published in 1971, five years after his debut Hard Rain Falling. Pistilli Roman is used in tight-not-touching caps, using a tilde as hyphen.

A brochure issued by British Rail’s Rail Freight division that looks at the wide range of freight wagons available along with discussing the manufacturers of them along with the relative merits of leasing and hiring. It also notes that other incentives to using such rail wagons existed including the Industry Act of 1972 and the ‘Assisted Areas’ for which grants and loans existed.

The booklet was produced in conjunction with the West of England Rail Freight Division and produced by the Publicity Department of the Western Region.

Cooper Ultra Shadow Ital F (solid with open shade) and Cooper Black Shaded Ital Swash C (open with solid shade) are two phototype derivatives of Oz Cooper’s Cooper Black (1922), shown in Photo-Lettering’s 1971 catalog. Although they are not explicitly credited to Ed Benguiat, the design as well as the catalog numbers suggest that they were made as extensions to his Cooper Black Swash. Maybe these specific styles were executed by other PLINC staff members.

Here they are used together on the cover of a book published in 1973 in McGraw-Hill’s Electrical and Electronic Engineering series. The book design is credited to Barbara Ellwood. It’s not confirmed if she did the cover, too.