Hollenstein

Goblyns – Three Sisters album art, tour poster and single cover

Antoine Pazat — Sat, 07 Feb 2026 15:21:13 +0000

Contributed by Antoine Pazat

Source: goblyns.bandcamp.com Goblyns. License: All Rights Reserved.

Album cover featuring Hypnos

Three Sisters is the second studio album by the Berlin-based band Goblyns. It was recorded at Junxt Berlin, mastered at Songololo Studios and released in June 2025 by Crazysane Records.

The artwork and design was made by Julia Schimautz at DTAN Studio.

Additional information and images about the design process can be found on this Instagram post made by the artist (including a Risograph printed poster of a taller version of the album cover's illustration, with more objects).

Hypnos by Jean Alessandrini is used for the band's name. It is accompanied by a version of Quadra 57 (probably Spade from Canada Type) for the titles of album and tracks on the back of the record, as well as the dates on the tour poster.

Another visual was made by Julia Schimautz for the single cover for an earlier digital release of the album’s title track in April 2025 (with the participation of Day Day Contemporary screen printing studio for exposing a screen used for the design). More information about this image can be found on this Instagram post.

Shotgun was used for both the band name and song title on the single cover.

Vinyl record showing the backside using Hypnos as well as Spade for the album & tracks titles.

Tour poster featuring Hypnos and Spade

Single cover, featuring Shotgun

This post was originally published at Fonts In Use

Nicoletta – “Enfants venez chanter l’espoir” / “Viens te balader au creux de mes chansons” single cover

Florian Hardwig — Sat, 07 Feb 2026 15:05:00 +0000

Contributed by Florian Hardwig

Source: www.ebay.fr punki64collectionvinyles45t33t. License: All Rights Reserved.

French designer Jean Alessandrini (b. 1942) designed more than twenty typefaces, in all kinds of styles. So far, we’ve only documented in-use examples of his Hypnos.

Here’s another one, of the typeface that bears the designer’s name: Alessandrini 7 is a monolinear design based on modular shape, a spiral with two centers. It was drawn for Hollenstein in 1972 and was also available from TypoGabor. The only digitization that I’m aware of is unreleased. Lucas Liccini made it in 2020 as part of his Revivals & Renditions student project at UdK Berlin.

“Enfants venez chanter l’espoir” (“Children, come sing of hope”) is a song by pop singer Nicoletta (b. 1944). It was released in 1973 on Riviera Records.

[More info on Discogs]

The B-side is titled “Viens te balader au creux de mes chansons” (“Come take a stroll through my songs”).

This post was originally published at Fonts In Use

Profil – For You album art

Antoine Pazat — Sat, 07 Feb 2026 15:02:00 +0000

Contributed by Antoine Pazat

Source: www.discogs.com Discogs. License: All Rights Reserved.

For You is an instrumental album by German progressive rock band Profil, recorded in Brutkasten Studios and released in 1982. This is the only known release of the band.

The cover design is credited to Bernd Mayer, who was also a member of the band and played drums and percussion on the album.

Hypnos (by Jean Alessandrini) is in use for the name of the band. The title of the album seems to be handlettered.

[More info on Discogs]

Source: www.ebay.de Ryan_Sales_Shop (edited). License: All Rights Reserved.

This post was originally published at Fonts In Use

Mac & Katie Kissoon – “Song For Everybody” / “Woman” German single cover

Sat, 02 Aug 2025 06:57:00 +0000

Photo(s) by Buro Destruct on Flickr.

Source: www.flickr.com Uploaded to Flickr by Buro Destruct and tagged with “zan”.

Fonts from the Flea Market 1420

Albert Boton’s Zan in use on the German sleeve for a 1973 single by Mac and Katie Kissoon, a Trinidad and Tobago-born pop soul duo consisting of brother and sister.

[More info on Discogs]

This post was originally published at Fonts In Use

Billie Davis – “Make The Feeling Go Away”/ “I’ll Come Home” French single cover

Javi Gonzalez — Sun, 27 Apr 2025 07:19:43 +0000

Contributed by Javi Gonzalez

Source: www.sashamdisques.fr License: All Rights Reserved.

The cover of a French single with two songs by Billie Davis, “Make The Feeling Go Away” and “I’ll Come Home”. The song titles are set in a condensed version of Roc. Her name apparently is custom lettering.

[More info on Discogs]

This post was originally published at Fonts In Use

Se mnou ne madam Czechoslovak movie poster

Florian Hardwig — Sun, 01 Dec 2024 13:01:00 +0000

Contributed by Florian Hardwig

Source: www.vinterior.co Vinterior (edited). License: All Rights Reserved.

Poster for the 1970 Czechoslovak release of Se mnou ne madam (original German title: Mit mir nicht, Madam!; English: Not With Me, Madam!), a 1969 DEFA film about mistaken identity, directed by Roland Oehme and Lothar Warneke and filmed in Yugoslavia.

Designer Zdeněk Ziegler somehow got his hands on Or, a multiline typefaces designed by André Chante and released in 1969 by Hollenstein in Paris. Ziegler used it for “MADAM”, in alternating glyph colors. Apparently he didn’t like the original A with the flat top, and made his own form, taking cues from a flipped V.

I don’t know whether the sans-serif inline caps are custom drawn or taken from a typeface. Neither Phosphor, Lux Antieke, or Drescher Grotesk is a match. [Edit: It’s probably a manually drawn interpretation (or a crude poster cut?) of Kristall-Grotesk lichtfett, which was shown in 1966 by Grafotechna as Universal Grotesk světlý. In the specimen, the middle bar in E is longer than the top bar – unlike in this application – but other details are a match, like the high center in M and the flat apexes in N.]

The small print is in reversed Gill Sans.

Source: www.vinterior.co Vinterior. License: All Rights Reserved.

Source: www.vinterior.co Vinterior. License: All Rights Reserved.

This post was originally published at Fonts In Use

Saint Tropezbe költözünk movie poster

Florian Hardwig — Sat, 25 May 2024 14:19:41 +0000

Contributed by Florian Hardwig

Source: comradekiev.com Comrade Kiev. License: All Rights Reserved.

From Wikipedia:

Le Viager is a 1972 French comedy film directed by Pierre Tchernia and starring Michel Serrault, Michel Galabru and Claude Brasseur, adapted from a script by René Goscinny, the creator of the Asterix comics.

In Hungary, the film was released in 1973, under the title Saint Tropez(-)be költözünk (“We’re moving to Saint Tropez”). The poster was designed by Zoltan Kálmánchey (1942–1999), featuring an illustrated version of a hand gesture with a wide array of meanings, some of which are specific to certain countries.

For the typography, Kálmánchey contrasted two typefaces that, like the film, both originated in France. Stylistically, they couldn’t be further apart. Spring is a twisting hippie extravaganza with unconventional weight distribution and a huge helping of ball terminals. Drawn by Bernard Jacquet, the lowercase-only design was issued by Mecanorma in or before 1971. In 2005, Rebecca Alaccari digitized it under the name Jojo.

The wide streamlined sans looks a lot like Frutiger’s Univers. In fact, it’s Brasilia. This French neo-grot with extra-small apertures started out as a lowercase design by Albert Hollenstein. The caps used here were added by Albert Boton – who started his career at Deberny & Peignot, working under Frutiger. In 1958, Boton joined Équipe Hollenstein.

This post was originally published at Fonts In Use

Série Chouchou single covers

Florian Hardwig — Tue, 25 Jul 2023 20:36:00 +0000

Contributed by Florian Hardwig

#1, Percy Sledge – “When A Man Loves A Woman” / “Love Me Tender”

Série Chouchou is the name of a French series of 7″ records with songs by artists from Warner, Reprise, Elektra, Atlantic, and Chrysalis, distributed by WEA. Between 1973 and 1975, a total of thirty records were released, with musical styles ranging from soul (Aretha Franklin, Otis Redding) and rock ’n’ roll (Fats Domino) to hard rock (Iron Butterfly, Alice Cooper).

Graphicolor in Nanterre printed each sleeve in two colors, with some releases being made available in alternative color variants. The artist/band name is always set in all caps, and the song titles (mostly) in all lowercase characters.

The typeface may look familiar, and yet this is the first time we feature it on Fonts In Use. Its name is Roc. Designer Albert Boton drew it for French phototype company Hollenstein. I don’t know when exactly Roc was made. The earliest showing I’m aware of is as Hollenstein Roc in a Photo-Lettering brochure from 1964. In 1963, British dry transfer manufacturer Letraset released Compacta. It seems likely that the folks at Hollenstein saw Compacta and asked Boton to come up something similar for phototypesetting. But maybe it’s the other way around and Roc came first?

In any case, such a tight-setting bold condensed sans was very much in vogue at the time: Schmalfette Grotesk started to become popular in the late 1950s, and other manufacturers responded to the trend: Haas and Weber revamped their old designs as Inserat-Grotesk and Neue Aurora VIII, respectively. Ludwig & Mayer issued Permanent Headline in 1964, Stephenson Blake brought out Impact in 1965, and Mergenthaler Linotype followed up with Helvetica Compressed in 1966.

Comparison: Florian Hardwig. License: CC BY-NC-SA.

Roc (top; here Photoscript’s version named “Ascona Grotesk (Roc)” from a 1965 catalog, scan courtesy of Stephen Coles, CC BY-NC-SA) compared to Compacta (bottom; here Bitstream’s digitization with decreased tracking)

Roc and Compacta are similar, but there are also a couple of differences, see for example the modulation in A M N V W. The construction of several of Roc’s glyphs like a g y G Q is closer to that of Univers (1957/1958). No surprise: Boton started his career at Deberny & Peignot, working under Frutiger.

Roc wasn’t kept exclusive to Hollenstein in Paris. In addition to Photo-Lettering in New York, it was also carried by Photoscript in London, where it went under the name Ascona Grotesk (Roc). By 1974, Hollenstein had the design extended to six styles; maigre (caps only), normal, italique, noir, noir italique, and noir coupé (stencil). It did fairly well for a while, but due to its limited availability, the design fell into oblivion and became overshadowed by Compacta. To my knowledge, Roc was never digitized.

The Série Chouchou logo features caps from Normande, set on a circle. The number is in Helvetica Bold for the first few releases, changing to the more compact Helvetica Inserat (or Helvetica schmalfett?) for two-digit numbers.

[More info on Discogs]

Posted as part of a series that pays tribute to Albert Boton, one of the preeminent French type designers of the past sixty years. Albert Boton died on July 20, 2023, at the age of 91.

#2, Jethro Tull – “Bourée” / “Locomotive Breath”

#3, Sonny & Cher – “I Got You Babe” / “The Beat Goes On”

#4, Delaney & Bonnie – “Miss Ann” / “Free the People”

#4, back cover

#5, Wilson Pickett – “In The Midnight Hour” / “Land Of 1000 Dances”

#6, Otis Redding – “Satisfaction” / “Respect”

#7, Ray Charles – “What I’d Say” / “Hallelujah, I Love Her So”

#8, Crosby, Stills, Nash & Young – “Woodstock” / “Carry On”

#9, Aretha Franklin – “Respect” / “I Never Loved A Man (The Way I Love You)”. The wide light sans is Univers 33, see also #19.

#10, Vanilla Fudge – “You Keep Me Hanging’ [sic!] On, Part 1 / Part 2”

#11, Iron Butterfly – “In A Gadda Da Vida” / “[In] Iron Butterfly Theme”

#12, Graham Nash – “Chicago” / “Military Madness”

#13, Bread – “Baby I’m A Want You” / “The Guitar Man”

#14, The Doors – “Light My Fire” / “Hello, I Love You”

#15, Norman Greenbaum – “Spirit In The Sky” / “Canned Ham”

#16, Routers – “Let’s Go” / “Mashy”. The second song name is added in Helvetica Bold.

#17, Alice Cooper – “School’s Out” / “Elected”

#19, Peter, Paul & Mary – “Blowing In The Wind” / “If I Had A Hammer (The Hammer Song)”. The wide light sans is Univers 33, se also #9.

#18, The Everly Brothers – “Cathy’s Clown” / “Lucille”

#20, Myriam Makeba – “Pata Pata” / “Malayisha”

#21, Otis Redding – “(Sittin’ On) The Dock Of The Bay” / “I’ve Been Loving You Too Long”

#22, Fats Domino – “Lady Madonna” / “I’m Ready”

#23, The Bar-Kays – “Soul Finger” / “Knucklehead”

#24, Sam & Dave – “Hold On, I’m Coming” / “Soul Man”

#25, Ben E. King – “Stand By Me” / “Spanish Harlem”

#26, Booker T & The MG’s – “Green Onions” / “Get Ready”

#27, Arthur Conley – “Sweet Soul Music” / “Funky Street”

#28, Percy Sledge – “Warm And Tender Love” / “My Special Prayer”

#29, King Curtis – “Memphis Soul Stew” / “Teasin’”

#30, Wilson Pickett – “Funky Broadway” / “Mustang Sally”

This post was originally published at Fonts In Use

Chuck Johnson – Balsams album art

Florian Hardwig — Tue, 25 Jul 2023 13:27:04 +0000

Contributed by Florian Hardwig

Source: www.instagram.com SEEN. License: All Rights Reserved.

According to Olivier Nineuil, Black Boton was originally designed in 1970 at Paris-based publisher Delpire where Albert Boton was a design director at the time. The extrabold geometric face with hardly any counters has a lot in common with Milton Glaser’s Baby Teeth, but is distinguished by a number of details (for example the more refined M with splayed legs) and, notably, the inclusion of a lowercase. Black Boton was distributed by the local phototype company Hollenstein and is shown in a catalog from 1974 as an exclusive design, in solid and outlined styles. In 1997, Boton reissued it in digital form with Monotype, unfortunately without the lowercase.

In 2017, Rob Carmichael of SEEN used it for the sleeve of Balsams, an ambient steel guitar album by Oakland-based artist Chuck Johnson released by VDSQ Records. He further increased the opacity of the letterforms by filling in the counters in the O’s.

Aside: when spelled out, the name of Steve Lowenthal’s instrumental guitar label is “Vin Du Select Qualitité”. I don’t know if Boton fancied wines – he reportedly loved cigars – but if he did, he certainly went with such of select quality.

[More info on Discogs]

Posted as part of a series that pays tribute to Albert Boton, one of the preeminent French type designers of the past sixty years. Albert Boton died on July 20, 2023, at the age of 91.

Source: chuckjohnson.bandcamp.com Chuck Johnson. License: All Rights Reserved.

Source: chuckjohnson.bandcamp.com Chuck Johnson. License: All Rights Reserved.

This post was originally published at Fonts In Use

In Irland gibt es keine Schlangen by Frederick Forsyth (Bertelsmann Club)

Florian Hardwig — Tue, 25 Jul 2023 13:26:00 +0000

Contributed by Florian Hardwig

Source: www.flickr.com Uploaded to Flickr by Michael Studt and tagged with “pharaon”. License: All Rights Reserved.

In Irland gibt es keine Schlangen (“There are no snakes in Ireland”) is the German title of No Comebacks, a collection of ten short stories by English novelist Frederick Forsyth (b. 1938), translated by Rolf and Hedda Soellner. Shown here is the dust jacket of a book club edition published by Bertelsmann Club in 1982, under license from R. Piper & Co. Verlag.

For the typography, Werner Rebhuhn used Pharaon. This ultrabold and tight-setting slab serif was designed by Albert Boton at Hollenstein in 1972. A 1974 catalog by the French phototype company shows two variants, Pharaon 1 and 2. The latter can be seen here: it’s distinguished by straightened bowls and shoulders as well as shorter caps. To my knowledge, it never was digitized. The other style, Pharaon 1, was once available in digital form from Monotype, but is currently no longer available.

Posted as part of a series that pays tribute to Albert Boton, one of the preeminent French type designers of the past sixty years. Albert Boton died on July 20, 2023, at the age of 91.

Photo: Florian Hardwig. License: CC BY-SA.

Pharaon 1 and 2 as shown in the 1974 Hollenstein catalog. In the latter, some details were streamlined: for example, the top serif on a is merged with the roof, n is spurless and also lacks the unilateral bottom left serif. Compare also the height of the capital P.

Photo: Florian Hardwig. License: CC BY-NC-SA.

Pharaon (top, 1972) is similar to Letraset’s Aachen Bold (bottom, 1969) and might have been inspired by the latter’s success. Boton’s design has more impact, though, thanks to the heavier weight and the minimized counters and apertures. The comparison uses details from the book jacket and Bitstream’s digital version of Aachen Bold with decreased tracking.

This post was originally published at Fonts In Use

Bertolt Brecht’s The Life of Galileo, National Theatre

Florian Hardwig — Tue, 25 Jul 2023 13:23:52 +0000

Contributed by Florian Hardwig

Source: collections.vam.ac.uk Via V&A’s Theatre and Performance Collection. License: All Rights Reserved.

Poster for Bertolt Brecht’s The Life of Galileo as performed by the National Theatre under the direction of John Dexter. According to the National Theatre Archive, this production premiered in August 1980. (The record in V&A’s Theatre and Performance Collection dates it to August 1986.)

Designer Richard Bird used the Earthrise photograph which was taken by astronaut William Anders on December 24, 1968, during the Apollo 8 mission. It depicts the Blue Planet as seen from the Moon, and also graced the covers of the Whole Earth Catalog. This iconic visualization was the final nail in the coffin of the geocentric model that Galileo Galilei started to challenge in the early 1600s.

For the title, Bird chose Navy Cut, an all-caps stencil typeface with rounded corners. Navy Cut was designed by Albert Boton for Hollenstein in 1971, and was also carried by Letraset competitor Mecanorma. It was digitized in 2005 by Patrick Griffin as Quanta East.

The poster was printed by J&P Atchison. Copies of the poster are available from the National Theatre shop.

Via V&A’s Theatre and Performance Collection.

Posted as part of a series that pays tribute to Albert Boton, one of the preeminent French type designers of the past sixty years. Albert Boton died on July 20, 2023, at the age of 91.

This post was originally published at Fonts In Use

Delaney & Bonnie – “Never Ending Song Of Love” French single cover

Florian Hardwig — Tue, 25 Jul 2023 13:18:00 +0000

Contributed by Florian Hardwig

Source: www.45cat.com rockygonzales / 45cat. License: All Rights Reserved.

French sleeve for “Never Ending Song of Love”, a 1971 hit single by Delaney & Bonnie, a husband-and-wife duo consisting of Delaney Bramlett (1939–2008) and Bonnie Bramlett (b.1944).

The bold display cutie with the circular counters is Zan. Drawn by Albert Boton for Hollenstein in 1970, it was released in digital form with FontFont in 2002.

[More info on Discogs]

Posted as part of a series that pays tribute to Albert Boton, one of the preeminent French type designers of the past sixty years. Albert Boton died on July 20, 2023, at the age of 91.

This post was originally published at Fonts In Use

Dalida – Il Silenzio (Bonsoir Mon Amour) EP cover

Florian Hardwig — Tue, 25 Jul 2023 13:16:43 +0000

Contributed by Florian Hardwig

Source: www.ebay.fr punki64. License: All Rights Reserved.

French sleeve for a four-track EP with the number one hit single “Il Silenzio” by Iolanda Cristina Gigliotti, better known as Dalida (1933–1987), released in 1965.

The name of the French singer and actress with Italian roots is set in lowercase letters from Rialto. This wide roman follows in the footsteps of Craw Modern (ATF, 1958), but swings more, with extra wide serifs and exaggerated exit strokes. According to a catalog published by École Estienne in 1994, Rialto and the related Primavera were designed by Albert Hollenstein in 1958/1959. Other sources including Olivier Nineuil credit Hollenstein staff member Albert Boton with the design. Chances are it was a collaboration (see also Brasilia) – I can imagine that Albert Hollenstein suggested the idea and directed the project, and Albert Boton took care of the execution.

The song titles are added in all-caps Folio Condensed.

[More info on Discogs]

Posted as part of a series that pays tribute to Albert Boton, one of the preeminent French type designers of the past sixty years. Albert Boton died on July 20, 2023, at the age of 91.

This post was originally published at Fonts In Use

Tinka Bell – “There’s A Little Old Lady” single cover

Florian Hardwig — Tue, 25 Jul 2023 13:16:00 +0000

Sleeve for a single by French singer and visual artist Tinka Bell a.k.a. Yohana Nilović, with songs written by her husband Janko Nilović and Davy Jones. It was released in 1970 on Ju Ju Records, a label started by the two composers together with Eddie Barclay.

The typography features all-lowercase Primavera. According to a catalog published by École Estienne in 1994, this wide roman and the related, more playful Rialto were designed by Albert Hollenstein in 1958/1959. Other sources including Olivier Nineuil credit Hollenstein staff member Albert Boton with the design and date Primavera to 1963.

The song titles are added in caps from Cooper Black. This typeface that originated in Chicago in 1922 didn’t really see wide use in France before Hollenstein added a phototype version to their library, see the Hollenstein American Type Shop catalog from 1968.

[More info on Discogs]

Posted as part of a series that pays tribute to Albert Boton, one of the preeminent French type designers of the past sixty years. Albert Boton died on July 20, 2023, at the age of 91.

This post was originally published at Fonts In Use

The Equators – “Sunny Holiday” / “Love Song” single cover

Thu, 04 May 2023 10:31:08 +0000

Photo(s) by Buro Destruct on Flickr.

Source: www.flickr.com Uploaded to Flickr by Buro Destruct and tagged with “michel”. License: CC BY-NC-SA.

Fonts from the Flea Market #1265

Michel Waxmann’s Michel (Hollenstein/Letraset, 1969) in tightly spaced caps, on the sleeve of an undated single (c. 1972?) by The Equators. Provided that the cover photograph shows the artists (plus a dog), this group is not to be confused with the UK reggae band by the same name. Design by Hans Marti, a graphic artist in Basel who worked for Tell Record from around 1971.

[More info on Discogs]

This post was originally published at Fonts In Use

The Meditation Singers – Don’t You Want to Go EP

Matthijs Sluiter — Sun, 30 Apr 2023 09:46:10 +0000

The Meditation Singers were an American five-women gospel group that released eleven albums between 1958 and 1973. Don’t You Want To Go? is a 7″ EP record for the French market, distributed by Compagnie Européenne du Disque for Chess Records. This release is undated, but the title track was also included on the group’s 1966 album by the same name. 45cat dates it to June 1967.

Italian Print is used in lowercase for the band name. The song title is set in capitals, which came with decorative contours by default.

[More info on Discogs]

This post was originally published at Fonts In Use

Rita Pavone – “Bonjour la France” single cover

Sun, 30 Apr 2023 07:06:12 +0000

Photo(s) by Buro Destruct on Flickr.

Source: www.flickr.com Uploaded to Flickr by Buro Destruct and tagged with “italianprint” and “smoke”. License: CC BY-NC-SA.

Fonts from the Flea Market #1309

This sleeve for a 1972 single by Italian-Swiss singer Rita Pavone (b. 1945) features two typefaces with roots in the 19th century. They were both available at the time from French phototype provider Hollenstein:

Italian Print was shown in 1877 in a book of alphabets compiled by Frederick S. Copley. Unlike the original Italians from the early 1800s, this variant is not fully inverse stressed, but rather purely horizontally stressed, and has an extra contour around the capitals.

Smoke is a 20th-century trade name for a backslanted bottom-heavy design with round bottom terminals that was first made in wood by William H. Page around 1856.

[More info on Discogs]

This post was originally published at Fonts In Use

Anne Sylvestre – ABCDisque record series (Chansons pour and La petite Josette)

Florian Hardwig — Sun, 08 Jan 2023 21:49:14 +0000

Contributed by Florian Hardwig

Chansons pour, ABCDisque #1, 1977 [More info on Discogs]

In 1975, French singer-songwriter Anne Sylvestre (1934–2020) met illustrator Pef (Pierre Élie Ferrier, b. 1939). Together, they started a series of records with songs for children. One branch is named Chansons pour (“Songs for”), the other one is about La Petite Josette. The 7″ EPs with these fabulettes were released under the name ABCDisque, and the three LPs as ABCDisque géant. All records were published by the musician’s own label, A Sylvestre, which allowed her unlimited creative freedom.

Throughout the series, the main titles are rendered in Hypnos. This cute lowercase-only typeface was drawn by French designer, illustrator and author Jean Alessandrini (b. 1942) and first released with Hollenstein in 1969. It here is used with a twist: its rounded letterforms with the tiny circular counters were extended vertically (without distorting the details), making them even more bottom-heavy than they already were. With this customized typography and Pef’s cheerful collage illustrations, the series gained a distinctive visual identity.

Most other large text like Sylvestre’s name and the headings on the interior pages are in Caslon Black (Letraset, 1969), but sometimes also in the similar ITC Caslon No. 223 Extra Bold (c. 1969) and, in the case of La Petite Josette, in ITC Grouch (1970). At least in #1, lyrics, track names and credits are set in a bold condensed style from the Univers family (Deberny & Peignot, 1957).

Booklet from #1: “for being wise in the car …” / “for going for a walk…”

Booklet from #1: “for drawing a character…” / “for washing your hands…”

Booklet from #1: “for playing with mum…”

Booklet from #1: “for washing your ears…”

Chansons pour, ABCDisque #4, 1977 [More info on Discogs]

Chansons pour, ABCDisque #5, 1978 [More info on Discogs]

Booklet from ABCDisque #5

Chanson pour LP, ABCDisque géant 1, 1977 [More info on Discogs]

La petite Josette et le carnaval, ABCDisque #3, 1977 [More info on Discogs]

La petite Josette et ses parents, ABCDisque #6, 1979 [More info on Discogs]

La petite Josette et les moustaches, ABCDisque #2, 1976(?) [More info on Discogs]

This post was originally published at Fonts In Use

Dana – “Please Tell Him That I Said Hello” / “Darlin’ Come Home Soon” Belgian single cover

Sun, 08 Jan 2023 16:58:12 +0000

Photo(s) by Buro Destruct on Flickr.

Source: www.flickr.com Uploaded to Flickr by Buro Destruct and tagged with “hypnos”. License: CC BY-NC-SA.

Fonts from the Flea Market #1298

Shown here is the Belgian sleeve for Dana’s debut release on GTO Records. The song written by Mike Shepstone and Peter Dibbens became a minor hit in 1974/1975. Jean Alessandrini’s Hypnos is used with an added contour.

Dana Rosemary Scallon (b. 1950) –

is an Irish singer and former politician who served as Member of the European Parliament from 1999 to 2004.

While still a schoolgirl she won the 1970 Eurovision Song Contest with “All Kinds of Everything”. It became a worldwide million-seller and launched her music career.

[More info on Discogs]

This post was originally published at Fonts In Use

Johnny & Orquesta Rodrigues – “Hey Mal Yo” / “Johannesburg” Belgian single cover

Florian Hardwig — Sun, 08 Jan 2023 16:57:33 +0000

When you don’t have any ideas for your sleeve design and no budget for photography, you can always throw together some fancy display fonts. The uncredited designer of this Belgian single cover got away with such a somewhat uninspired approach. On the upside, they picked two interesting typefaces that haven’t seen a lot of use, both of French origin:

Tzigane by Albert Boton is a stand-alone italic with vertical contrast, in the tradition of Enric Crous-Vidal’s Paris. Mecanorma released it in 1973, with a number of alternates and ligatures, some of which were used here. The title of the B-side is in the lowercase-only Hypnos, an amorphous design with tiny circular counters, drawn by Jean Alessandrini in 1969 and issued by Hollenstein. Mecanorma adopted it in late 1973. The mix is completed with classic Brush Script, here set on an angle and with added contour (and questionable capitalization).

Record collector oopswhoops comments:

Unbearable A-side and a cool instrumental on reverse.
1974 Belgian pressing on EMI label.

[More info on Discogs]

This post was originally published at Fonts In Use