This special 56-page issue of Futurismo was published on the occasion of F.T. Marinetti’s visit to Trentino, Italy. The cover was the inspiration for Peter Saville’s well-known cover for the New Order album, Movement.

Note the ‘S’ sits on the baseline rather than letting its overshoot descend. I assume the type and rules are letterpress printed, but the overlap of the top of the ‘S’ indicates multiple passes on the press, or some other production process.

“The artwork, done by Peter Saville, is based on a poster by Italian Futurist Fortunato Depero for the 1932 exposition Futurismo Trentino. Saville adapted it so that the ‘F’ stands for Factory and the ‘L’ (Roman numeral) for 50. The album colour in the UK was blue with blue artwork, while in the US it was white with burgundy artwork.” — Discogs

Canadian release.

Back cover from EMI Australia release.

Back cover from CBS Records Australia release.

Canadian casette cover from Polygram used Kabel Black and Univers instead of Elegant Grotesk.

A software retailer ad in Byte magazine, January 1985. The ‘S’ in Harlow Solid was was modified for clarity, letter connections were made, and a fresh balloonish highlight was applied.

A selection of book covers from the GAMA edition by Odeon. Jiří Rathouský (1924–2003) designed a number of them in the period from 1980 to 1992. The Odeon publishing house was founded in 1925 by Jan Fromek, its original logo was designed by Karel Teige. 

In the 1970s, Jiří Rathouský created a typeface for Odeon, which was exclusively used for the GAMA series. This monolinear rounded geometric sans was called Alphapipe. It is more than just another fashionable typeface in the wake of Avant Garde Gothic. Alphapipe was one of the first complex type systems featuring a number of ligatures and alternative glyphs, to be used like today’s stylistic sets. Thanks to this novel variability, Rathouský was able to choose arbitrary glyph combinations in order to achieve the best possible kerning and maximum graphic impact at the same time.

In 2011, Radek Sidun made a digital version for issue #7 of Komfort Mag. While the original Alphapipe was a single style, the new BC Alphapipe spans five weights, each with italics. Not only does it have all stylistic alternates, but also a set of small capitals.

Art director/designer: Cipe Pineles Burtin
Artist: Janet Amendola
Typographer: MKP

Catalogs and posters for Parsons School of Design, 1983–84

Designer: Cipe Pineles
Artist: Janet Amendola
Typographer: Tom Carnase

Art director/designer: Cipe Pineles Burtin
Artist: Richard Hess
Typographer: MKP

This Brazilian edition has the same James Marsh illustration and the same layout as the one from Triad Granada. However, it uses a different typeface – and adds a bang to the title.

Trio CT Light used on the album cover of Morten Lauridsen’s Lux Æterna, RCM recording.

[More info on Discogs]