First edition of Stanisław Lem’s Doskonała próżnia, published by Czytelnik in 1971, with dust jacket and cover designed by Andrzej Heidrich. From Wikipedia:

A Perfect Vacuum (Polish: Doskonała próżnia) is a 1971 book by Polish author Stanisław Lem, the largest and best known collection of Stanisław Lem's fictitious criticism of nonexisting books. It was translated into English by Michael Kandel. Some of the reviews remind the reader of drafts of his science fiction novels, some read like philosophical pieces across scientific topics, from cosmology to the pervasiveness of computers, finally others satirize and parody everything from the nouveau roman to pornography, Ulysses, authorless writing, and Dostoevsky.

The book contains reviews of 16 imaginary books and one real book: itself.

[More info on ISFDB]

The author’s name is shown in Davida. Note the congenial design of the kreska ukośna in the Ł as well of the framing ornaments. Davida is paired with Berling, mostly using its italic style.

Dust jacket with art by Andrzej Heidrich

Cover

Title page

Polish movie poster for Soviet sci-fi art film Solaris (1972), designed by Andrzej Bertrandt. The film title “Solaris” is set in Disco (with a custom A). “Stanisław Lem”, the author of the 1961 novel from which the film is based, is set in Calypso. The director’s name, “Andrei Tarkovsky”, is set in Helvetica Black Extended. Castellar is used for “MFF” and “Cannes”. Additional fonts include Univers 53 Extended, Clarendon Medium, and Baskerville Old Face Regular.

From Wikipedia, regarding the film’s plot and accolades:

The plot centers on a space station orbiting the fictional planet Solaris, where a scientific mission has stalled because the skeleton crew of three scientists have fallen into emotional crises.

Solaris won the Grand Prix Spécial du Jury at the 1972 Cannes Film Festival and was nominated for the Palme d’Or. It received extremely positive reviews from critics. It is often cited as one of the greatest science fiction films in the history of cinema.

Planeta Lem is a new center for literature and language that will be established in Kraków in the upcoming years. The center will be dedicated to the work of Polish science-fiction writer Stanisław Lem – author of Solaris. In his books, the writer explores philosophical topics, speculating on technology, the nature of intelligence, and life on other planets. With the help of the writer’s timeless diagnoses, and contemporary scientific reflection on language and communication, Planet Lem will contribute to building an open and conscious society in the changing world.

In its program, the center wants to respond to the constantly changing world; this includes trends in communication, literature, and language, and new technologies. For its new visual identity, the center organized a design competition, from which our proposal was chosen. Therefore, together with Łukasz Podolak, we have created a variable and animated identification that reacts together with the center to the current problems. Our assumption was to create such a tool that the Center would not only be the creator of the content, but also co-create the identification, and thus its identification would never lose its freshness or topicality.

The phrase “Cross the boundaries of cognition” led us towards creating a narrative identity that is constantly evolving. We wanted Planet Lem to take the viewer, as Lem did in his books, on journeys through unknown dimensions and hitherto undiscovered worlds. Planet Lem’s identity consists of a logo, a grid system, and abstract visualizations of exceeded dimensions, as well as a fleeting raster.

The planet is in constant motion; a glimpse of this movement was captured in the logo. The logo exists simultaneously in two dimensions; both in known reality and unknown, undefined, mysterious. The logo is available in two versions printing as a rasterized form and digital as a gradient.

The logo uses the geometric TWK Everett from Weltkern as it has strong typographic details that add a high tension while keeping the reading experience comfortable. To add more graphic and yet fluid tech we cut E and L diagonally and widened the P which added a unique touch. In headlines, Everett is set with tight line spacing, enabled by its short extenders and ascenders.

The complementary typeface is Neue Haas Unica from Monotype, which is highly readable across all sizes and weights. It also has additional characters for Eastern Europe that we needed.

Inside the visualizations, familiar elements look and behave differently than our intuition tells us. They are in motion, they work at different times, constantly recreating and changing. Since our imagination and interpretation of the universe have no limits, identification can have an infinite number of dimensions (visual outputs). Like Lem, through the developed identity rules we can create and visualize new worlds endlessly.

Concept, design, and animation: Gabriela Baka and Łukasz Podolak with assistance from KBF.
Read and watch the full case study on Behance.

The designer of this East German film program, Barbara Tucholke, had more luck laying her hands on proper Motter Ombra than Gisela Kossatz. The 4-page pamphlet was published by Progress Film-Verleih, Berlin, for the screening of Andrei Tarkovsky’s Solaris (1972) in the GDR, 1974.

This paperback series of novels and stories by Polish science fiction writer Stanisław Lem (1921–2006) was published by Volk und Welt in (East) Berlin between 1980 and 1982.

All titles as well as the author’s first name are set white on black in Data 70, Bob Newman’s typographic interpretation of the MICR (magnetic ink character recognition) aesthetic for Letraset. Such angular letterforms with abruptly thickened vertical elements emerged in the mid 1960s and early 1970s and quickly became a signifier for computers and futuristic technology in general.

For each volume, cover designer Klaus Krüger rendered the word “Lem” in another catchy display face. There’s Stop (customized with a stenciled L and a square-cut M), Black Line (tight-and-touching, with white lines), New Zelek (with an elongated bottom bar on E), Motter Ombra (in alternating glyph colors, with the L scaled to x-height), Countdown (with a custom L and counterspaces filled in blue), and Lucky.

The publisher’s zigzag logo (VUW for Volk und Welt) was designed by Klaus Wittkugel.

Sterntagebücher, 1980. 2nd edition 1982. First published as Dzienniki gwiazdowe (The Star Diaries) in 1957.

Eden / Die Maske, 1980. First published in 1959 as Eden / in 1976 as Maska.

Der Schnupfen / Test, 1980. First published in 1975 as Katar (The Chain of Chance) / in 1959 as Test (The Test).

Der Unbesiegbare / Die Jagd, 1980. 2nd edition 1982. First published as Niezwyciężony (The Invincible) in 1964 / as Polowanie (The Hunt) in 1965.

Der Planet des Todes, 1980. 2nd edition 1982. First published as Astronauci (The Astronauts) in 1951.

Gast im Weltraum, 1980. Translated by Rudolf Pabel. First published in ca. 1955 as Obłok Magellana (The Magellanic Cloud).

Upon the release of Marvin Visions, Marcin mocked up fictional covers for some books by Stanisław Lem.