This catalog was issued by Letraset, the British manufacturer of dry-transfer lettering sheets and other graphic means, in 1975. The front and back cover show fifteen examples for how to use their display faces. Each typeface is presented in a different setting alongside illustration that complements the letter style.

The example for Broadway (first image, top left) features a frame made from elements of the Stripes typeface. In 1977, this device was referenced in a cover design for an album with music by Bing Crosby, see the post contributed by Pampa Type.

Another example of note is Buster (first image, bottom left) which employs the text buildup technique as sometimes seen in concrete poetry. Stripes also appears on the back cover (bottom right), with hyper-extended glyphs. Both Stripes and Buster were desiged by Tony Wenman and are Letraset originals. Many of the other faces were either licensed from contemporary manufacturers of phototype, like ITC Pioneer by ITC, Pluto by Face Photosetting, or Yagi Link Double by FotoStar/Facsimile Fonts; or were adaptations of metal typefaces. The Letraset logo uses tightly spaced Helvetica.

Photos courtesy of Peter Smith – thanks a bunch!

West Cooper Nouveau Swash Bold with shadow and interlinear ligatures, on the cover of an album by the Olympia Brass Band. Small differences between repeating letters suggest that this is lettering derived from PLINC’s alphabet style.

In Europe was recorded in Berlin on 4 August 1968 and released in 1969 on 77 Records, London. The jazz brass band from New Orleans had been revived under the historical name by saxophonist Harold Dejan in 1958. Dejan (1909–2002) led the band until shortly before his death.

The band had a notable part in the 1973 James Bond movie Live and Let Die where they lead a funeral march for a victim assassinated during the march.

Sleeve design by Stuart McMillan, with photography by Doug Dobell.

[More info on Discogs]

The compressed caps used for the title on the back cover are from Placard.

Paperback edition by Avon Books, New York, 1983.

The mass market paperback editions of Harold Kushner’s bestseller by Avon Books and others feature six stacked lines of ITC Benguiat Condensed Bold, in tightly spaced caps with a shadow effect, arranged on colored stripes, with the word “Bad” highlighted reversed on black. ITC Benguiat is used for everything from the author‘s name and title to the blurbs and the praise on the back cover.

See also the jacket design of the first edition by Schocken from 1981, featuring Perpetua.

Back cover of the Avon Books edition.

Paperback edition by HarperCollins Canada, 1983. “The acclaimed national bestseller” here is set in caps from the Black weight of Helvetica Condensed. The same design was also used by Pocket Books, New York, in 1987.

Black Voices is an album by Nigerian drummer, composer and songwriter Tony Allen (b. 1940), released in 1999 by Comet Records in Paris, France. The cover was designed by Inflamable Ink. While the artist’s name is set in an extended version of Richard Schlatter’s high-contrast unicase face Glyphic Series (VGC, 1972) with alternate Y, the title is in lowercase Pasadena Serial, a sci-fi face that originated at the Brendel Type Studio in 1974.

From Wikipedia:

As drummer and musical director of Fela Anikulapo Kuti’s band Africa ’70 from 1968 to 1979, Allen was one of the primary co-founders of the genre of Afrobeat music. Fela once stated that, “without Tony Allen, there would be no Afrobeat.” He has also been described by Brian Eno as “perhaps the greatest drummer who has ever lived.”

[More info on Discogs]

The best looking entry in the impeccable Innovation series of Congolese soukous LPs (early enough to be unmarred by ’80s production) featuring a lovely trio of singers, veterans of Orchestres Bella Bella, Lipua Lipua, and Kamalé. The information on this album is limited—the model is credited but not the designer!—but Nyboma was known to have lived in Paris when this was released, Disques Innovation seems to have been based there and it was unambiguously distributed by a Parisian company so it seems likely that it was designed there, rather than in the artists’ and producer’s native Democratic Republic of the Congo (then Zaïre).

A Cyrillic version of Quicksilver in use for Дикий волк (“Wild Wolf”), a science fiction anthology edited by V. Kovalev and published in the Научная фантастика (Nauchnaya fantastika, i.e. Science Fiction) series by the Узбекистон (Uzbekistan) imprint in 1992. It includes two novels by Gordon R. Dickson, Wolfling (1969) and The Genetic General (1960), plus The Last Starship from Earth by John Boyd. The cover art as well as the interior illustrations are credited to V. Liss. This info was compiled by sergtj (bibliographic details) and NikolaSu (images) for Fantlab.ru.

Quicksilver was designed by Dean Morris and issued by Letraset in 1976. The original version didn’t include Cyrillic characters, and I’m not aware of a digital adaptation to do so.

The two sans-serif fonts used on the title page are unidentified.

A relatively early and copious use of ITC Neon, in alternating line colors. The film typeface by Ronné Bonder and Tom Carnase was released one year earlier, in 1970. It’s an adaptation of Prisma (1930), Rudolf Koch’s all-caps multiline companion to Kabel. This ancestry is particularly visible in the narrow C and the wide M. Unfortunately, there’s no quality digitization of ITC Neon. My favorite detail in David Krieger’s cover design is the added entry stroke at the top left – as if this was a real neon sign where all parts need to be somehow connected and hooked up.

45worlds contributor 23skidoo notes:

Compiles the two live albums recorded for Sonet Records of Sweden and originally released in Europe in 1968. However, none of the photos included in the album actually show the lineup that performed in 1968; several images (including the one of Haley on the cover) date back to approximately 1964, while the gatefold image dates from either 1969 or 1970 (based on the musicians visible).

Gatefold with stacked and staggered ITC Neon.

Parents of Earth, are your children fully immunized?
Make sure – call your doctor or health department today. And may the Force be with you.

Via Darran Anderson (@Oniropolis):

Meanwhile, in 1979... Issued by the U.S. Department of Health, Education, and Welfare / Public Health Service / Centre for Disease Control.

Designed by Bob Quinzel for Schaedler, Marvin is a simple bold condensed all-caps sans with two twists: 1. It’s bottom-heavy. 2. It comes with lots of swash alternates. The latter are so striking that the unusual weight distribution can go almost unnoticed. This public service announcement is a rare example of Marvin used without any swashes.

Bumper sticker design from the late seventies/early eighties for the public radio station 88.7 WBFO in Buffalo, NY, a service of the State University of New York at Buffalo (or just University at Buffalo).

“We Support Public Radio” is set in ITC Souvenir Bold, designed by Ed Benguiat in 1970 for ITC, with a swash alternate used for the S. “FM 88” is set in Thorowgood Sans Shaded, designed in 1839 for Fann Street. “BUFFALO” is set in Gill Sans Medium, designed by Eric Gill in 1928.

German sleeve for a single by The Mamas & The Papas, with the text arranged on the inner sides of two wings of a window, revealing the band portrait with stacked faces in the center. The tripartite layout is unusual and results in narrow columns with one word per line. Technically, the wings are too wide, of course, and would overlap when closed. The typeface is Windsor Elongated, the narrowest member of the Windsor series that originated at the Stephenson Blake foundry in England in the 1900s.

[More info on Discogs]

Sweepstakes ad by Birds Eye, “the official training table vegetables of the National Football League”, from October 1966. The chubby letterforms in the speech balloon come from West Bubble Gum Blockshadow. “A great trip …” is set in another face drawn by Dave West for Photo-Lettering, Inc.: It’s West Kerpow, which has been revived by Bob Alonso under the name Shazam.

lt’s easy to win the Grand Prize. Just enter the Birds Eye National Football League Sweepstakes. You can win your kid’s favorite football player. He’ll come out to spend the day with your family. And he’ll bring along a new ’67 Pontiac Tempest Station Wagon. As part of your Grand Prize, you’ll also win an Autumn Haze Mink Stole plus a free trip for 2 to a postseason pro game in Miami or Los Angeles.
And that’s not all. You’ll also receive a freezer filled with delicious Birds Eye Vegetables, a blender, stadium blanket, electric knife, clock radio, picnic jug and an NFL Official Football. Your football hero will spend the day with your family, talking to your child’s school assembly or your husband’s club, taking the whole family to dinner. And he’ll give the neighborhood football fans some firsthand pointers on the game.
ALSO, 14 FIRST PRIZES. Your favorite player will spend the day with you and your family. And he’ll deliver a color TV and season tickets to local NFL games.

Ham it up / Put it on ice / Give it a new twist / Toast it / Cream it / Cheese it / Butter it up / Whatever you do… you’ll like what you’ve done.

Franklin Gothic in a single size for a 1965 ad for Campbell’s tomato soup.

A strong and colourful use of Optex for the 1974 hardback edition of Beyond Apollo by Barry Malzberg, published by Faber & Faber. It's used throughout the cover for all copy, from the title (all caps) to the author (upper and lowercase), down to the logo on the spine (U&lc). The jacket design is credited to Gask.

The letter design appears to have been tweaked to include an additional colour band (pink) which is reminiscent of some of the variations of Prismania/Prink. Additionally, the capital Y and N appear to be alternates or at least non-standard.

The debut album from soul group, The Dramatics, released by Volt Records, a division of Stax Records. The typeface is Papirtis Pink Mouse Solid, one of many extra-heavy geometric display sans serifs issued in the late 1960s and early 1970s. The lowercase offered an alternative to Baby Teeth. which was quite prominent at the time but was caps only. Artwork credits from the liner notes:

Cover Design: Ron Gorden
Illustration: Neil Deckert
Art Direction: David Krieger
Creative Director: Larry Shaw

Cooper Black Italic with a flavored F – one of twelve swash caps that were included in ATF’s version – for an ad by Holland House. See more Cooper Black with swashes.

A fun set of matchbooks made by the Ohio Match Company showing days of the week set in different typefaces. Monday is set in ATF Stencil, Tuesday is set in ITC Grouch, Wednesday is set in Buxom, Thursday is set in Egyptienne Bold Extended, Friday is set in Futura Prisma by Photo Lettering, Saturday is set in Futura Black, and Sunday is set in Gill Kayo.

According to Wadsworth Werehous page:

“The Ohio Match Company was established in 1895 and was the second oldest operating match manufacturer in the United States. Originally, as with all of the early match manufacturers, Ohio made only wooden matches. Later, with the advent of book matches, Ohio began its journey to become one of the true giants of the industry. Located in Wadsworth, OH, its plant was the largest in the world, producing more than 300 million wooden and paper matches each day. The facility covered 18 acres. Also, in 1938, it was the first in the industry to regularly produce reverse-strikers.”

There are some interesting photos of the inside of the factory itself at the Ohio Memory project page. The company also produced some Peter Max inspired matchbooks. More of their matchbooks can be found here: Ohio Match Company Safety Matches

Monday is set in ATF Stencil.

Tuesday is set in ITC Grouch

Wednesday is set in Buxom, a copy of Milton Glaser’s Baby Fat, distinguished by a wider W and a simpler shade on S.

Thursday is set in Egyptienne Bold Extended

Friday is set in Futura Prisma

Saturday is set in Futura Black

Sunday is set in Gill Kayo

Jorge Ben’s album cover using Milton Glaser’s Baby Teeth typeface (Dotted style). The choice of the face works well since the letters are square-proportioned so the leg of the R lines perfectly with the diagonal of the N. The vinyl record labels use the rarely seen Riverside Drive typeface that Peter Max designed for Photo Lettering in 1970. The title of the album is set in ITC Souvenir (Demi Italic style).

The design is by Hélcio Mário Noguchi, a prolific Brazilian designer.

Lucky Strike introduces the Lucky Strike that doesn’t taste like a Lucky Strike.

One of the phototype versions of Perpetua, tightly spaced and more condensed than the original, paired with indented copy in Helvetica, for a magazine ad by the American Tobacco Company.

“Wedding” (No. 292) ft. the festive Saphir caps set on a curve.

Covers for various clip books of line art issued by Volk Corp in 1977. This year marked their silver anniversary. The celebration started already in 1976, indicating that the company was established in late 1951. According to Bart Solenthaler, it went out of business sometime in the 1980s.

See the previous post about the clip books issued in 1955 for more information on Harry Volk Jr. Art Studio.

“Holidays” (No. 293) ft. Paprika, a biline variant of Tabasco.

“Entertainment” (No. 295) ft. Tonight.

“Office” (No. 296) ft. Bobo Bold.

“Hobbies” (No. 297) ft. Abbey Scroll.

“Women” (No. 300) ft. Yagi Double.

“Holidays” (No. 301) ft. Koloss with EndcapS.

“Men” (No. 302) ft. Atrax.

“Spring” (No. 303) ft. Jolly Roger.

“The Farm” (No. 678) ft. Arnold Böcklin in all caps.

“Summer” (No. 679) ft. the Sparkly style from the Churchward Design series.

“Children” (No. 680) ft. Eurostile Bold Condensed.

“Medicine” (No. 682) ft. Columna.

“Sales” (No. 683) ft. Whimzitype 3600.

“Groups” (No. 685) ft. Eurostile Bold Extended.

“Christmas” (No. 688) ft. Benguiat Caslon caps with swash alternates.

“Menu” (No. 690) ft. more Saphir.

“Energy” (No. 691) ft. Frankfurter.

“Homemaker” (No. 692) ft. more Benguiat Caslon, here in caps set on a curve.

“Industry” (No. 693) ft. Old Gothic Bold Italic.

“Teens” (No. 695) ft. ITC Uptight Neon.

“Science” (No. 697) ft. Data 70.

“Spring & Summer Sports” (No. 699) ft. Marvin (Face). Illustration by Tom Sawyer.

“Design Devices” (No. G75) ft. Charrette. The decorated A is taken from Cloister Initials. The logo of the Grafika subseries is in ITC Fat Face with ligatures for ra and fi, accompanied by Kabel Light with omitted tittles.

“Pointers” (No. G77) ft. manicules (☛☞) with caps from Windsor Elongated.

“Symbols” (No. G80) ft. caps from Futura Light with a custom SY ligature. The anniversary note in the counter of O is in Helvetica Condensed.

“John Doe” (No. G82) ft. Augustea Open.

“Jane Doe” (No. G83) ft. Keyhole, which was Formatt’s copy of Sintex with added alternates.

Bob & Carol & Ted & Alice is a comedy movie about partner-swapping couples, and the 5th highest grossing film of 1969. It was directed by Paul Mazursky and stars Natalie Wood, Robert Culp, Elliott Gould, and Dyan Cannon. The soundtrack was composed by Quincy Jones and released on Bell Records.

The film’s primary promotional poster is entirely typographic, with a large rainbow-colored field of all-caps Cooper Black, repeating “Bob & Carol & Ted & Alice.” – 32 years before Experimental Jetset’s often-imitated John & Paul & Ringo & George t-shirt design.

Design for the soundtrack’s album art is credited to Farmlett, Barsanti & Associates, but it’s not clear if they’re also responsible for the primary poster, which doesn’t include any design credits.

Other posters for the film incorporate photographic imagery, other typefaces, different color schemes, and some funky spiral motifs.