Album cover designed by Brest Brest Brest / Rémy Poncet with the Latin part of the Japanese font MS Mincho for the acoustic tribute album to Jimi Hendrix’ “May This Be Love” by French guitarist Thomas Naïm, released in 2025.

[More info on Discogs]

Source: www.abebooks.com Between the Cover. License: All Rights Reserved.

Front panel of the 1974 book jacket

Jimi. An Intimate Biography of Jimi Hendrix was authored by fellow musician Curtis Knight (1929–1999) and first published in hardback in 1974. Praeger issued a paperback edition by 1976.

Source: www.amazon.de License: All Rights Reserved.

Back, spine and front panels of the jacket

Photo: Martyn Wilson. License: All Rights Reserved.

Front cover of the paperback edition

Photo: Martyn Wilson. License: All Rights Reserved.

Back cover of the paperback edition

Electric Lady Studios was commissioned by Jimi Hendrix in 1968 and designed by audio engineer Eddie Kramer and architect John Storyk from 1969 to 1970. The studio’s building was formerly a nightclub before being converted into a studio for Hendrix and other musicians along the 1970s.

A modified version of Photo-Lettering's Williamson Template is used for the studio's logo, with notable differences such as wider characters, and oval counters.

Rolling Stones’ recording session bill with logo, Dec 14, 1979

Plaque with logo and building number prior to renovation

Business card

Demo reel to reel tape box with logo

Céline Kriebs hand drew Alias Harbour for typographic illustrations and headline text for Court Circuit, “a local & artisanal magazine of local reports, at the crossroads of information, literature and graphic arts”. The topic of no. 5 is “Words & music”. The front cover illustration was also available as a print.

The masthead type is Prophet. Article text is set in Kessler.

“Burning of the Midnight Lamp” is a song recorded by The Jimi Hendrix Experience, and written by frontman Jimi Hendrix. It features R&B group the Sweet Inspirations on backing vocals, and was produced by band manager Chas Chandler. Though the single was released in 1967 (with “The Stars That Play with Laughing Sam’s Dice” as B-side), the song wouldn’t appear on either of the band’s 1967 albums, but instead on their 1968 double LP, Electric Ladyland.

No cover designer is credited. The photo is by Jürgen Wolfgang, and the sleeve was printed by Ludwig Fr. Noltemeyer, Braunschweig.

[More info on Discogs]

1967 single of “Foxy Lady” b/w “Manic Depression” by the British-American psychedelic rock trio. “Foxy Lady” was the opening track of the original British version of the Are You Experienced LP. This is Polydor’s German sleeve that also was used for Scandinavian and Italian markets. No designer is credited. Printed by Ludwig Fr. Noltemeyer, Braunschweig.

[More info at Discogs]

Awesome use of Norman for the August 2021 issue of Guitar World magazine, with Amit Sharma’s cover story about “Guitar’s Greatest Live Moments” featuring Jimi Hendrix and Queen.

Norman Fat is used in all caps and with some of its swash alternates. It’s paired with related lettering for “LIVE”. The italic used for the teaser text is from Playfair Display. There’s also Heroic Condensed as well as another yet unidentified grotesque.

Detail

The album cover for Strange Things by Jimi Hendrix & Curtis Knight features a unique combination of typefaces by the two main manufacturers of dry-transfer type; Stripes by Letraset and Pinto Inline by Mecanorma. Stripes is used for the initial capitals (J, H) and the ampersand (&), matching the line weight of Pinto Inline by filling some of its lines.

Strange Things was released by the French record label MFP in 1974.

[More info on Discogs]

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. 1, No. 9, announcing the premature death of Jimi Hendrix. Cover typography in Thorowgood Sans Shaded.

Pelo (“Hair”) was the first Argentine magazine dedicated entirely to rock music, with a special emphasis on the local scene. Founded by Osvaldo Daniel Ripoll in Buenos Aires in 1970, it soon was distributed across Latin America, and became especially popular in Peru and Uruguay.

The logo features lowercase letters from Art Tone. The bottom-heavy face was designed by Seymour Chwast in 1964 and subsequently added to Photo-Lettering’s library. Pelo used this logo from the first issue in February 1970, made under the art direction of Juan Bernardo Arruabarrena, to the very last one in September 2001. The wordmark was shown in all kinds of colors, in various sizes and alignments, occasionally rotated, on an angle, partly obscured, and sometimes illustrated. The only major change was introduced in No. 95 from 1978 when the letterforms were embellished with a bombastic chrome effect. In this issue, Juan Carlos Piña is credited as jefe de arte.

The National University of Quilmes is carrying out a complete digitization of the magazine and is making the issues available online in the Archivo Histórico Digital de la Revista Pelo. This post shows a few selected covers.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. 1, No. 1 (February 1970), ft. Mike and Paul McCartney and the first appearance of the Pelo logo in Chwast Art Tone. The cover typeface is Cooper Black.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. 1, No. 6, ft. Paul McCartney. “Letras del LP …” uses letterforms from an unidentified source (possibly a dry-transfer face?). “Super Poster” is in Columbus, “Exclusivo desde Londres” uses PLINC’s Staudel Xenotype J or Roberta III, while “Los Beatles” features Siegfried.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-ND.

Vol. 3, No. 33 (1972), with a title story about “the lies of Argentine rock” presented in Countdown. “Arco Iris” is in Helvetica.

License: All Rights Reserved.

Vol. V, No. 49 (1974) about the “decadence of rock”, ft. David Bowie, Alice Cooper, Marc Bolan, Ringo Starr, Cooper Black Italic, and Tip-Top.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. V, No. 51 (1974), ft. Elkie Brooks. The main cover typeface is Tip-Top.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. IX, No. 105, with a review of the year 1978, ft. Queen and Kushell.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. XIII, No. 158 (1982), ft. Debbie Harry, caps from Flash Bold, and some ITC Souvenir.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. XXXI, No. 505 (2001), ft. Kurt Cobain, Helvetica, and ITC Garamond.

Launched yesterday, Future Fonts is a new marketplace for unfinished fonts.

It is “a platform for collaboration between type makers and users. Get fonts while they’re still seeds and give ’em the fertilizer to grow.” — Typographica

The initial set of offerings includes twenty in-progress typefaces from twelve designers/studios. Paul Tuorto jumped right in and got his hands on Eckmannpsych. This psychedelic variant of Otto Eckmann’s Eckmannschrift (1900) is currently at v0.1, featuring “a basic set of capitals [A–Z], and nothing else.” To the surprise of type designer James Edmondson (OH no Type Co.), it has sold the most licenses of his four future projects so far.

Tuorto’s faux vintage record sleeve is a tribute to Jimi Hendrix, made on the occasion of his brother’s birthday. It is the first documented use of a Future Font. I’m looking forward to more in-use examples of these ultrafresh fonts.

German single released by Polydor in 1969 [Discogs]. Cover printed by Gebrüder Jänecke, Hanover.

Issued on March 13, 2014, just before the Jimi Hendrix Celebration concert at the South by Southwest Outdoor Stage at Butler Park in Austin, TX, the new limited-edition Jimi Hendrix Forever® stamp, designed by artist Rudy Gutierrez, features a vibrant design fashioned to evoke the movement and rhythm of the late singer and pay homage to the psychedelic rock era of the 1960s. — Stamp Services