Deadlocked is an album by F-777 a.k.a. Jesse Valentine, a musician from Edmonton, Alberta. It was self-published in February 2013. The title on the cover uses all-caps Haettenschweiler with EndcapS including a mirrored final letter and various effects.

The Gathering is the eighth studio album by thrash metal band Testament, released on June 8, 1999. The cover artwork was done by English artist Dave McKean who also did the cover art for the two prior Testament studio albums Demonic and Low. The fonts in use are Margo Chase’s Portcullis and Jonathan Barnbrook’s Patriot Heavy, both released in 1997.

[More info on Discogs]

Front cover of book 1, The Invasion

Animorphs is a series of young adult science fiction novels created by K.A. Applegate and published by Scholastic from 1996 to 2001. The cover illustrations are by Peter Bollinger (book 1), Tim O'Brien (book 2), and David B. Mattingly (books 3 to 54).

The Animorphs logo uses stretched Ramiz. Eurostile is used for the title, author’s name, and tagline on the front cover. The blurb on the back cover also uses Eurostile, except for an initial capital from Ramiz. The interior uses Trade Gothic, with Ramiz for chapter headings and the first capital of each chapter.

Later printings may have a promotion for the TV series adaptation (which aired from 1998 to 2000) on the front cover. One version has the text “Watch Animorphs on Nickelodeon” in Template Gothic Bold and Escalido Gothico, and “TV” in Graham Bold; another has “Watch Animorphs on TV” in Eurostile, Ramiz, Template Gothic and Escalido.

Front cover of book 2, The Visitor

Back cover of book 44, The Unexpected

Book 1, page 1

Front cover of book 21, The Threat, including a TV promotion at the top right

Detail

Front cover of book 49, The Diversion, including a TV promotion at the bottom left

Chirpin’ is the 1977 album by the Persuasions, an a cappella group that formed in Brooklyn in 1962. Art direction by Tony Lane, with a cover painting by Gary Meyer.

The typographic treatment pays homage to the lettering on the iconic Tube map for London Underground from 1908, with larger EndcapS and each letter enclosed in a tile-like box. The fonts used to emulate the hand-drawn sans are Futura Bold and Extra Bold

[More info on Discogs]

For comparison: detail from London’s 1908 Tube map

Front cover

Blackheart Revolution is the third studio album by American industrial rock band Genitorturers, released in 2009.

The band name and album title use a mixture of Mason Serif and Morpheus, a free font which appears to have been inspired by Mason Serif. The track listing on the back cover is set entirely in all-caps Morpheus.

[More info on Discogs]

Close-up

Back cover (Brazilian/Argentine release)

Theatrical movie poster

Bill & Ted’s Excellent Adventure (1989) is a science fiction comedy that follows two academically underperforming high school students, Bill S. Preston, Esq. (Keanu Reeves) and Ted “Theodore” Logan (Alex Winter), whose failure in history class threatens not only their friendship but the future of humanity. To prevent this, a traveler from the future named Rufus (George Carlin) arrives with a time-traveling phone booth, enabling the pair to journey through various historical periods and collect notable figures—including Socrates, Napoleon, Joan of Arc, and Abraham Lincoln—for their final presentation.

The logo is a combination of Bippie (for “Bill & Ted’s” and “adventure”) and custom lettering (for “Excellent”). The cashing credits are set in Univers Ultra Condensed. The tagline is set in Futura Bold Condensed.

Closeup view of the logo, from the theatrical movie poster

Presskit for the movie, showing the print version of the logo, which uses Bippie

Poster. The credits use Futura Condensed.

From Wikipedia:

Batman Forever is a 1995 American superhero film based on the DC Comics character Batman by Bob Kane and Bill Finger. It is the third installment of Warner Bros.’ initial Batman film series and a sequel to Batman Returns (1992). […] Batman Forever was released on June 16, 1995, to mixed reviews from critics, who praised the visuals, action sequences, soundtrack, but criticized the screenplay and tonal departure from previous two films. The film was a box office success, grossing over $336 million worldwide and becoming the sixth-highest-grossing film of 1995.

The Batman Forever font was specifically created for the film by Massey Rafani of The Idea Place (the in-house ad agency of Warner Bros.) and Mark van Bronkhorst of MvB Design. It is used in the opening titles of the film, on posters, and in other advertising.

After the main opening titles, further opening credits use Trajan. The end credits of the film use Caxton.

Beginning of the opening titles of the film

The actors’ names move towards the camera in 3D

More opening credits, using Trajan

End credits, using Caxton

Teaser poster. Legal text uses Times New Roman. “PRINTED IN U.S.A.” is in Helvetica.

Poster. The credits use Bee.

Poster

Poster

Poster

Poster

Home video ad. The credits squeezed caps from Futura. The line at the bottom shows the normal proportions.

MagiC Carpets is a collection of artistic narratives bringing together 14 different stories, resulting from a two-year international project. In this project, 191 artists from 15 different countries collaborated with local communities to create works of art.

This fairytale-like programme opened up borders and created a far-reaching exchange project. We aimed to highlight the metadata and present these stories with a clear structure, including information about space and time, while maintaining a ‘magical’ nuance in the publication.

This book was made for the Kaunas Biennial, in collaboration with Ugnė Balčiūnaitė.

Undated poster (c.1970) with the weekly program of Teatar &TD. The logo is introduced with a fine manicule. Stencil is also used for the days of the week. Dates are in Schmale Herold, names of plays in Blippo and Helvetica, and times in Annlie Italic.

Ivo Brešan – Predstava Hamleta u selu mrduša donja, općine Blatuša, 1971. Brešan’s name is in a variant of Broadway, distinguished by closed counters in B, a straight leg in R, a centered middle bar in E, and more small adjustments. I assume this is Roaring Twenties, with modifications [edit: or rather Trio Serie A, see comments]. The title combines Handels-Cursief a.k.a. Elvira, Murillo, a hand-rendered (?) version of Bernhard-Antiqua extrafett (or Lo-Schrift?), and Schmale Herold.

Charles-Ferdinand Ramuz & Igor Stravinsky – Priča o vojniku (L’Histoire du soldat), 1971. The title is in Sea weed, with a custom-added flat diacritic. The names above use all-lowercase Helvetica and all-caps Century Expanded.

Luigi Pirandello – Henrik četvrti (Enrico IV, 1922), 1972. “ITD Galerija” is in Thorne Shaded, “Pirandello” in Smoke, “Henrik” in Sezession, and “četvrti” in Helvetica, again with a horizontal bar as caron.

Georg Büchner – Woyzeck (1836/1913), 1972, with overlayered Thorne Shaded and Torino Italic for “büchner”

Heiner Müller – Filoktet (Philoktet, 1965), 1972. The title uses Roaring Twenties, with giant EndcapS. The playwright’s name is in lowercase Torino Italic.

Peter Nichols – Jedan dan u smrti male Joe (A Day in the Death of Joe Egg, 1967), 1972. Helvetica and Bookman Swash Italic are used for the title and Century Expanded for “Nichols”.

Harold Pinter – Stara vremena (Old Times, 1971), 1973. The geometric hairline caps are from Walter; “Pinter” appears to be in Prismania Thirteen.

Zvonimir Majdak – Kužiš, stari moj starring Mladen Budišćak, 1973. Caps from Schmale Herold are paired with another Berthold release: “majdak” is set in Normande Condensed.

Eugène Ionesco – Lekcija (La Leçon, 1951) / Slobodan Šembera – Vrijeme za gastritis (1971), 1973, with titles in Jim Crow and Baby Arbuckle

Promises is the debut album of the Garrick Sextet led by British jazz pianist, band leader and composer Michael Garrick (1933–2011). The record was released in 1965 by Argo Records, a label absorbed by Decca Records in 1957.

The unknown designer of the front cover combined a powerful red/black color combination with five irregular shapes showing the six band members in black-and-white photographs. The top left shape is simultaneously a picture frame and the capital P – the initial capital of the album title. It is set on an angle, using Typefoundry Amsterdam’s Flambard, with the last two letters reversed out of a photograph showing Michael Garrick, and ending in an EndcaP. The band name is somewhat inconspicuously tucked away between the bottom two pictures. The gap between the top two images offers ample room for typography, though. Perhaps the band name was positioned right there in an earlier version of the design?

The back cover is set in three weights of Univers.

[More info on Discogs]

From Wikipedia:

The Roaring Silence is the seventh studio album by English rock band Manfred Mann’s Earth Band. It was released on 27 August 1976, by Bronze Records in the UK and by Warner Bros. Records in the US.

The cover was designed by Shirtsleeve Studio, using Marvin with recessed letterforms and EndcapS. The giant ear with an open mouth inside it was modelled by artist Derek Goldsmith.

[More info on Discogs]

Identity for Macao Orchestra’s Concert Season 2022–23 created by Untitled Macao:

In celebrating the 40th Anniversary of Macao Orchestra, we are expressing the theme of “Leaping Over to the Future” through graphic design, in an attempt to illustrate the abstract future. Aside from symbolizing the attractive spotlights on stage, the metallic texture of silver also brings along a slight sense of mystery, in which strongly futuristic at the same time. In short, everything is clean yet powerful. This time, the conductor’s baton has been chosen as a symbolic key visual which implies guidance, like a conductor guiding every musician in the band to complete a piece of music during performance. By using repetitive graphics of the baton, not only does it show the strength of unity, the repetitiveness also emphasizes the meaning of “Movement”.

The English titles are set in Love by VJ-Type. The Chinese typeface is yet unidentified.

Marvin Visions, Mathieu Triay’s revival of Marvin, expands Michael Chave’s original 1969 design into a range of weights and optical sizes. And yet the majority of applications uses the Bold weight only. This book is an exception.

Designers Lorraine Wild and Tommy Huang of Green Dragon Office started with the Bold, too, but made it less weighty by outlining the letterforms. The title is rendered with hyper-extended EndcapS (compare to a similar treatment for Starliners, 1980). For the subtitle, captions, page numbers, bibliographical dates and more, they pulled up a much lighter weight. This airy end of the design space has distinct qualities, which are a good match for the transcendental theme. The text typeface appears to be LL Catalogue.

The Transcendental Painting Group was founded in Santa Fe and Taos, New Mexico, in 1938. This “first book on a radical, astonishingly prescient episode in American modernism” was published by the Crocker Art Museum together with DelMonico Books. It accompanied an exhibition that opened at the Albuquerque Museum in June 2021, and subsequently traveled to the Philbrook Museum of Art; Artis—Naples, The Baker Museum; and the Crocker Art Museum, Sacramento. The show concluded at the Los Angeles County Museum of Art in April 2023.

Merlin’s Millennium Edition Sticker Collection, published by Topps Europe in 2000, is a special offer Merlin made to football fans to collect and swap their stickers with other collectors in a special event named “Merlin Swop Shop Tour”, which is sponsored by Caprisun.

The main fonts used in the booklet and on the stickers are Grant Hutchinson’s Badloc and David Berlow’s Techno. The former is used for titles, with EndcapS and plenty of effects. The latter appears in team and player descriptions, among other places. The boxes with Premier League records and club facts use Blake Springer’s Digital.

Steven Gerrard, Liverpool F.C.

Alan Shearer, Newcastle United

David Beckham, Manchester United

Thirteen terrifying tales to chill you today – and haunt you tomorrow

The gruesome cover art by Les Edwards is supported by the claustrophobic tightness of all-caps Windsor Elongated. The narrowest member of the Windsor family is used with EndcapS.

This compilation was edited by Giles Gordon and features short stories by Brian Aldiss, Patricia Highsmith, Francis King, Penelope Shuttle, William Trevor, Michael Moorcock, William Sansom, Angela Carter, John Sladek, Peter Redgrove, Joan Aiken, George MacBeth, and Barry Unsworth.

[More info on ISFDB]

Gate of Ivrel with a blurb by Andre Norton [More info on ISFDB]

The Morgaine Stories are a series of fantasy novels by C.J. Cherryh. They tell the saga of Morgaine, a time-traveling heroine, and Nhi Vanye i Chya, her loyal warrior companion. According to Wikipedia, Cherryh “used only her initials [for Carolyn Janice ], to disguise that she was female at a time when the majority of science fiction authors were male.”

The first three books were published by DAW Books in 1976 (Gate of Ivrel), 1978 (Well of Shiuan) and 1979 (Fires of Azeroth). These cover designs probably date from around 1988, when the fourth novel, Exile’s Gate, came out. They feature the cover art by Michael Whelan that already was used for the first editions.

The reason they’re shown here is because the series represents a prominent use of the relatively obscure Sphinx éclaire. This capital typeface is an inline version of Sphinx, originally issued by French foundry Deberny & Peignot in 1925. Sphinx éclaire here is used in bichromatic settings with EndcapS, and supported by ITC Benguiat.

Well of Shiuan [More info on ISFDB]

Fires of Azeroth [More info on ISFDB]

Exile’s Gate [More info on ISFDB]

Bahamontes is a Belgian quarterly magazine about cycling. Every edition has a theme and a companion title font. Edition #39 is titled “Kopman” – the team leader. The guest typeface for this issue is Heliuum by 205TF. The magazine’s stalwart typefaces are Tiempos by Klim Type Foundry and Sharp Grotesk (Sharp Type).

A poster for a concert by US-based Czech composer Petr Kotik, organized and performed by Budapest’s 180-as Csoport (Group 180). The titles are set in a mix of Maxima and Futura, apparently with numerals from Helvetica. There are also two widths of Univers in use. The logo of the concert hall, Petőfi Csarnok, uses ITC Benguiat with EndcapS.

Goldie and the Kiss of Andromeda is the latest album by Parisian singer Adam Naas. It was designed by Image Format, using photography by Emma Picq and two typefaces by Benoît Bodhuin; BallPill and bb-book B.

[More info on Discogs]

The title features bb-book B with a bouncing baseline, customized i dots, and EndcapS.

From Wikipedia:

Grand Theft Auto: Chinatown Wars is a 2009 action-adventure game developed by Rockstar Leeds in conjunction with Rockstar North, and published by Rockstar Games. The game was released for the Nintendo DS in March 2009, PlayStation Portable in October 2009, iOS in January 2010, and Android and Fire OS devices in December 2014.

For this edition, the game logo (set in Pricedown), is accompanied with the subtitle “Chinatown Wars” in red letters with golden outlines, based on Bruce Mikita – a design from the 1860s originally known as Rustic Ornamented Shaded that was digitized by Harold Lohner in 2000.

In-game, Helvetica is used for dialogues, time, date, and some information screens such as the pause menu. Osaka Sans Serif by Vic Fieger, 2004, is the most recent typeface used in the game’s typography. It is used for headlines throughout the game.

The Flatliner cutscene.

The weapon wheel menu

The pause menu

Information about the menu on the Replay board

Mission Passed screen

Wasted screen