A redesigned identity for the 25th anniversary of publisher Éditions de La Pastèque. The developed identity is playful and varied, to represent the diversity of the publisher’s offering, which includes children’s books as well as non-fiction for teenagers and comics for adults.

Manifesto for the event and fundraiser “Artisti per la Palestina” (Artists for Palestine) in favor of the association Amici della Mezzaluna Rossa Palestinese organized by Sorgente in collaboration with Arci Palermo and the activist Fateh Hamdan. The typography pairs Lacrima Italic and Studio Feixen Sans.

The eleventh studio album release by Ike & Tina Turner has a double cover, each showing a portrait of the couple, with their names set in Thorowgood Sans Shaded; the album title is revealed on the inside of the gatefold: Outta Season. The music consists of a mix of original tracks and covers.

At first I thought the album artwork (shot and arranged by “Amos and Andy”) was a reference to the artwork of You Don’t Have to be Black to Love the Blues by Junior Parker – but the Ike and Tina album predates Parker’s album by three years. In turn, Parker’s album is a parody of the popular “You don’t have to be jewish” campaign for Levy’s Jewish Rye bread which ran in the 1960s–70s. It looks like the designers found some inspiration in that campaign, but what about the reversed blackface? References like the racist stereotypes of black children and adults with watermelons from the US South, and Al Jolson’s blackface are easily found in reference to this cover, adding to (at least my) confusion about what we’re looking at.

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The track list and credits on the gatefold are set in various styles from Univers.

Through an integrated and holistic approach, Sunday Wellness addresses chronic health issues through lifestyle and diet choices. Focusing on the root cause, Sunday aims to establish routines and practices that promote long-term health, healing, and wellness.

The logotype was built from VC Henrietta Condensed, a chunky serif typeface that takes inspiration from the legendary Cooper Black. VC Henrietta is also used as the display typeface, supported by Mori.

Read and see more in the case study.

Magazine ad for Breast O’Chicken Tuna with a recipe for Tropical Tuna Salad, published in Woman’s Day, June 1967, Vol. 13 No. 9.

The headline typeface is an obliqued version of Neptun, originally released by the Aktiengesellschaft für Schriftgießerei und Maschinenbau in Offenbach/Main in 1900. Its German roots show in the asymmetrical W with closed right counter and the T with curved stem—two features that can be found back in blackletter typefaces, see e.g. Alte Schwabacher. Chances are that this is Photo-Lettering’s film adaptation, which appeared in Vol. 2 of their Alphabet Thesaurus from 1965 as “Xenotype 3471”.

Steve Mehallo posted another ad from 1954, and comments:

Not quite Chicken of the Sea, Breast-O’-Chicken was another product designed to confuse Americans about where tuna actually comes from.

See also this book with recipes by Frank Decatur White, published by Westgate-Sun Harbor Company in 1949, and an ad from 1952.

This cover concept, developed by Daniel Cooper-Bey at the Groove Merchant label, is a parody of the “You don’t have to be Jewish to love Levy’s” campaign. It uses the same typeface (Cooper Black) but in all caps, and replaces the italic with Mandate.

Photography by Ivan Nagy.

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