The flyer was created to be published before the final of the Campeonato Gaúcho, the regional football tournament of the state of Rio Grande do Sul, Brazil. The final contest was between the two centennial clubs from Porto Alegre, Grêmio and Internacional, who together form the biggest rivalry in Brazilian football, the famous Gre-Nal.

In the first match of the final, Grêmio defeated Internacional 3–0 at their home stadium. The decisive match would take place at Internacional’s stadium. In the background of the image appears the Beira-Rio Stadium in blue flames, referencing an event that occurred in the 2000s when Grêmio supporters set fire to parts of the stadium during a derby. The coffin with three arrows alludes to Grêmio mascot, the Flecha Negra (“Black Arrow”), symbolizing that the outcome of the final had already been decided in the first match — as if the coffin had already been closed. On the ground there is a red pipe representing what would remain of Internacional’s mascot, the Saci-Pererê.

The title of the artwork, “O Grêmio Vai Sair Campeão” (“Grêmio will be champions”), references a traditional song sung by Grêmio supporters when the team is about to win a title.

First edition (hardcover) by Bartholomew House, 1967, illustrated by Bill Wenzell. The illustrations on the front of jacket are by Roy E. LaGrone. Secondary typefaces include Craw Clarendon Condensed, Filmotype Harmony (or Photo-Lettering’s copy, Almadine Script), and Century Expanded Italic.

Coffee Tea or Me? was advertised as “the uninhibited memoirs of two airline stewardesses”, and credited to Trudy Baker and Rachel Jones. In fact, it was ghost-written by Donald Bain. The 1967 hardcover dust jacket features Caruso Roxy, set in all caps. The same typeface was also used for the paperback cover, now bigger and in mixed case, as well as for the three sequels published until 1975. In 1973, the book was made into a film.

Caruso Roxy is a typeface that we’ve come to associate with the swinging 60s.

Coffee Tea or Me? The uninhibited memoirs of two airline stewardesses. First Bantam edition (paperback), November 1968 with cover art by Bill Wenzel and small text in all-caps News Gothic.

The Coffee Tea or Me Girls’ ’Round the World Diary. First edition (hardcover) by Grosset & Dunlap, 1970. The multilingual toasts are stereotypically added in more or less fitting typefaces: Peignot (French), Post-Antiqua (Hebrew), Cloister Black (German), Centaur (Spanish), Akzidenz-Grotesk Extended (Scandinavian), Jessen-Schrift (Greek), Americana (English), Mandarin (Japanese), and Century Schoolbook (Italian).

Jacket and cover with spine lettering

The Coffee Tea or Me Girls’ ’Round the World Diary. Paperback edition by Bantam Books, April 1971, with small type in Alternate Gothic.

The Coffee Tea Or Me Girls: Lay it On The Line, Bantam Books, 1973. The fat years are over: the main typeface now is Caruso Roxy’s light weight. Secondary text is in italic caps from Caledonia.

The Coffee Tea Or Me Girls Get Away From It All, Bantam Books, 1975, with Helvetica used for the text in red.

With terminals as sharp as fangs, Gothic Tuscan Pointed was a natural choice for the title of Basil Copper’s popular study of vampires. First published in hardback by Robert Hale in 1973, this is Corgi’s paperback edition from 1975. The specific font in use likely is the phototype adaption made by Headliners as part of the Morgan Press Collection, which includes a lowercase. The descender in p apparently was cut short to avoid spacing issues.

One of the oldest and most terrible superstitions is that of the vampire. This blood-curdling legend of the undead has fascinated millions throughout the centuries, and today it is still a powerful myth … or is it? What is a vampire? Have they ever existed? And, if not, how has their dreadful reputation become so well established?

[More info on ISFDB]

The typography of the title page is carried over from the first edition by Robert Hale & Co., featuring Cloister Black – with appropriately bat-shaped top serifs in V – and Futura. The Shakespeare motto is added in Plantin.

Plantin is also used for the interior typography, with headings in Cloister Black.

The teaser quote on the back cover is set in the underused fett weight of Trump-Mediäval, digitally available as Bitstream’s Kuenstler 480 Black. The synopsis is in Rockwell.

Starting in 1962, the Firestone Tire and Rubber Company issued a series of seven annual Christmas albums. From Discogs:

The first three albums in the series were produced by Forrell, Thomas & Polack Associates, Inc. The last four, by Forell & Thomas, Inc. The manufacturer of the records is not identified explicitly. But based on the data printed on the labels and inscribed in the runout of the records, volumes 1, 2, 3 ,5 and 7 were manufactured by the custom records division of RCA Records, and Volumes 4 and 6 were manufactured by Capitol Records.

While the initial release was titled “Favorite Christmas Carols”, the following albums were named “Your Favorite Christmas Carols”, “Your Christmas Favorites”, and “Your Favorite Christmas Music”. Apart from the changing colors and credits, the basic design is always the same, depicting a large ribbon with mistletoe against an ornamental wrapping paper in the background. The title typeface is Cloister Black.

Other text on most of the covers is set in designs by Filmotype, namely Rodgers, Wasp, and Fleet. Volume 5 is an exception in that it replaces Rodgers with Caslon Bold Condensed – which was carried by Filmotype as “CA51”. Some smaller bits also use the bold weight of Trade Gothic Extended. Lastly, the text on the golden starburst stickers is in all-caps Clarendon.

The final volume features a different photo for the ribbon.

Palestine Wail is a collection of poems by Yahia Lababidi, published by Daraja Press. The cover illustration, chosen by Lababidi, is Symbol of Hope by Sliman Mansour.

Lords of Chaos is a 2018 film depicting the story of the Norwegian black metal band Mayhem, directed by Jonas Åkerlund.

The film premiered in January 2018 at the Sundance film festival before being released in 2019 in the USA, UK, and Sweden.

As part of the promotional material the typeface Anorexia by Bonez Designz was used. The typeface features within trailers, posters, digital items and film credits. The director’s name on the poster appears to be in (a version of) Cloister Black.

(Anglo-American) Blackletter for German: Cloister Black is used for the title of Auf Wiedersehen, an easy listening album recorded by Kermit Leslie & His Orchestra and released by Time Records in 1962. The typeface used for the white text below is the Bold Condensed style of Lydian by Warren Chappell, student of Rudolf Koch.

Design by Murray Stein, using art by Albanian painter Ibrahim Kodra (1918–2006). Typography by The Composing Room, Inc.

[More info on Discogs]

Source: historical.ha.com Heritage Auctions. License: All Rights Reserved.

This dust jacket was created for the first edition of The Stars at Noon by Denis Johnson (1949–2017), published by Alfred A. Knopf in September 1986 as a Borzoi book:

The novel follows an unnamed American woman during the Nicaraguan Revolution in 1984. It was adapted into the 2022 film Stars at Noon, starring Margaret Qualley and Joe Alwyn.

In my previous post about the Esther Phillips album cover, I wrote that Allen Stingray needs to be used in big sizes to really shine.

Prolific book designer R.D. Scudellari (1933–2022) got the message: he used the mesmerizing 3D face in appropriately giant letters. The interplay of positive and negative shapes nicely corresponds to the book’s title. Scudellari further extended its eponymous features – the fin-like boundaries and the blade-like stripes – to the design as a whole. As a finishing touch, he added contour lines to better define a few letters, compare T S R to a specimen of the unmodified Stingray.

The author’s name is added in caps from a phototype version of Binner, possibly PLINC’s Brass Band.

Via @that.covers.it, a inspirational collection of book jackets and covers maintained by Amanda Weiss.

Source: www.abebooks.com Dan Pope Books (edited). License: All Rights Reserved.

Source: www.abebooks.com Dan Pope Books (edited). License: All Rights Reserved.

The title page features Weiß-Initialen Serie I, with Electra for the publisher line.

A sheet music booklet published by A.W. Perry & Sons’ Music Company in Sedalia, Missouri, consisting of variations of “When the Roll is Called up Yonder” and several other songs, composed by M.W. Butler – a pseudonym of Philip Perry (1859–1953), one of the sons of founder Austin W. Perry (1829–1900).

The song title uses a version of French Antique/Clarendon with a wonky lowercase, “variations” uses an Old Style Title-esque roman, “composed by” uses Jenson Old Style, the composer’s name Cheltenham Bold Extended, “50” in a wide roman, the publisher’s location in Latin Antique, and the name of the publisher in Gothic Condensed No. 5.

Cthulhu Books is an editorial platform by the Institute for Postnatural Studies. They bring together reflections and worlds that derive from distinct perspectives, emerging new ways of talking about nature and suggesting malleable relationships between words and what they describe.

Quoted from IPS:

From Cthulhu Books, we think of the world to come as a great Compost. Composting as our new relational ontology, as our earthly condition. Composting makes us a single planetary material (humans, beings, objects, technologies). It is the past and it is the future. It is space, place and it is matter. It is a world as a whole rather than as composed of separate natural and social realms, where there are rituals of celebration, entanglements, and interrelationships. To institute means to begin – cultivating consciousness from questions rather than from answers, from uncertainty and doubt. This book speaks about beginnings, about new relationships, about unstable modes of doing, thinking, and being, letting questions spawn new questions.

Tongues as long as branches, cockroaches in a ‘hot-history’, the revival of extinct plants, pre-patriarchal paranthropology, thinking with toxic plants in contemporary art, digestive ontologies in a spiral, capitalist bruxism, a business school run by eukaryotes, a society where we pay to eat celebrities, a chumbo, and 800g of bonisto tuna fish are some of the matters fermenting in this COMPOST READER.

We Can Fly! Up-Up and Away is an album with vocal music for easy listening, released by Liberty Records in 1967. Wikipedia writes about Johnny Mann (1928–2014):

As bandleader with The Johnny Mann Singers, he and the group […] hosted the TV series titled Stand Up and Cheer (1971–1974), was the musical director for the 1967–69 ABC-TV late night talk show, The Joey Bishop Show, and performed at the White House twice. He was also musical director of The Alvin Show and was the singing voice of Theodore. Mann was also choral director for The NBC Comedy Hour.

Art direction by Woody Woodward, using a phototype revival of Joseph W. Phinney’s Binner (1899), with caps from Paul Renner’s Futura Light for the song names.

[More info on Discogs]

The dust jacket features Alternate Gothic (“SNOOPY and the”), Cloister Black (“Red Baron”), and Futura Bold for the smaller text.

Charles M. Schulz (1922–2000) is the creator of the influential comic strip Peanuts, which features characters like Charlie Brown and more appropriately Snoopy, in his “Fighting Ace” persona. As described by the Schulz Museum:

Snoopy envisioned himself soaring through the clouds in pursuit of his nemesis, the infamous Red Baron, while sitting atop his doghouse, which he imagined as a real British biplane known as a Sopwith Camel […] Otherwise wandering through parts of Europe that World War I aviators genuinely traversed, stopping in cafés to quaff root beers and flirt with French lasses.

Designed by Hal Vincent and published by Holt, Rinehart & Winston in 1966, this full-length book follows the Fighting Ace theme, while shifting perspectives of the war and conflict in Snoopy’s mind to absurd antics as witnessed by the neighborhood children.

Book spine without jacket (identical design), using same typefaces as the front cover.

The three title pages feature Egyptian Shaded with illustrations from segments of the book.

Second title page includes Clarendon Bold Condensed for the publisher’s name, with its locations in Egizio Condensed

More Bold Clarendon on the final title page.

Example of the Clarendon Bold used for the main text face.

Dust jacket interior and its flaps, featuring the main typeface Clarendon, with the title reiterated in Alternate Gothic.

In the years before the outbreak of World War 1 “motoring” started to be one of the popular pastimes of the ‘well-off’ and upper classes. This can be seen in this series of motoring guides produced by the Cheltenham based publishers E J Burrow & Co Ltd in conjunction with the Royal Automobile Club and this, the Scottish volume, in connection with the Scottish Motoring Club. The various volumes give details of routes and destinations, including maps, and are peppered with adverts for motoring services to be found on the way – important then in the early days of motoring when to be able to find a mechanic or petrol supplies was vital – as well as for hotels and for ‘goods’ useful for motorists; these include accessories and clothing suitable for motoring. The guides are written by Charles G Harper who was a well known travel writer.

E J Burrow’s became a prolific publisher of guides and handbooks, often “official” in that they were produced in conjuction with local authorities or organisations. This is interesting in that it notes amongst their addresses Bradford as the fact their London Agent was Percy Lund, Humphries & Co Ltd. I suspect this small format book may have been printed at Lund Humphries ‘County Press’ and had not previously been aware of some link between the two companies.

In the ad shown above, Windsor Condensed is set on a curve, with the initial letter inserted from regular-wide Windsor. Other typefaces used include Cheltenham (sold by Caslon as Cheltenham Old Style), Jenson Old Style (sold by Stephenson Blake as Italian Old Style), and a bold Grotesque.

Can there be any more iconic name in connection with Glasgow’s Tea Rooms than that of Cranston’s? It even gets a mention in the 1938 GPO documentary Night Mail. This advert however relates not to Miss Catherine – or Kate – Cranston whose Tea Rooms designed by Charles Rennie Mackintosh are the stuff of legend, but the chain founded and owned by her brother Stuart Cranston. Both siblings followed their father’s footsteps into the business of tea and tea rooms. Stuart died in 1921, his sister despite having given her tea rooms up in 1918, outliving him until she died in 1934 leaving a substantial estate to ‘the poor of Glasgow’.

The ad shown below likewise uses Windsor, complemented by De Vinne, also in two widths, and an Old Style.

The Scottish Motor Traction Co Ltd, better recalled as ‘the SMT’, was formed in 1905 and although it was around early motor cars that the business was based, they soon began to operate motor buses. Thanks to railway investment in the late 1920s, the company became the dominant force in the Scottish bus industry, owning other concerns notably W Alexander’s. Nationalised in 1948, and forming the basis of the later Scottish Bus Group. The non-bus and coach interests that I think had been formed into a separate subsidiary as SMT Sales & Service Ltd., selling and repairing motor cars, before WW1, was retained in private ownership and continued in existance until 1991.

These premises in Fountainbridge, Edinburgh, were suitably aimed at the sort of clientele who could afford motoring in pre-WW1 days with Ladies and Gentlemens lounges – as well as skilled engineers and 24-hour service.

Piano Trios Complete, Philips PHC 2-013, 1968

In the mid 1960s, Philips Records started a new label dedicated to classical music from around the world and named it World Series. The logo has a pictorial part with a charming illustration of a round bearded face shown (mirrored?) inside an old-fashioned globe, framed by a box with rounded corners. It’s enclosed by the two words of the name set in caps from Binner. On the record covers, the words sit to the left and right. On the record labels, they are placed above and below the image. This post gathers details from the top of a number of album covers, depicting the characteristic color palette.

The dates on Discogs range from 1964* to 1973 (with many records being undated), but they have to be taken with a grain of salt. The World Series isn’t mentioned in the Philips LP catalog from 1964 or their Complete Record Catalog from August 1965. I reckon that the series was started in late 1965 or 1966. A catalog from February 1968 lists 88 records – from Albinoni to Vivaldi – published in this “special series of recordings from the PHILIPS international catalog dedicated to the finest quality product at a popular price”.
*) The record dated to 1964 on Discogs is mentioned in a Billboard issue from February 1967.

I haven’t been able to find out the designer. The illustration style suggests John Alcorn to me. Alcorn did use Binner on various other occasions.

Les Pecheurs De Perles, Philips PHC 2-016, 1969

24 Preludes For Piano, Philips PHC 2-006, 1967

Symphony No. 6 in D Major, Opus 60, Philips PHC 9008, 1966

Comiques Concertos, Philips PHC 9012, 1966

Piano Concerto No. 2 (In G Major, Op. 44), Philips PHC 9007, 1966

Concerto No. 3 / Violin Concerto No. 5, Philips PHC 9109, 1966

El Amor Brujo / Falla The Three Cornered Hat, Philips PHC 9054, 1967

“Mit 66 Jahren” is a schlager song by Austrian singer Udo Jürgens (1934–2014), released in December 1977 as a single from his album Lieder, die auf Reisen gehen. It spent a total of fifteen weeks in the German charts, and was later covered by Chris de Burgh as “Life begins at 66”.

The typography pairs caps from Binner, squeezed and with a compact umlaut, with Plantin Bold Condensed. The cover of the album was designed by Manfred Vormstein. It’s not clear if he worked on the single sleeve as well.

[More info on Discogs]

In 1954, at the age of 33, S. Neil Fujita joined Columbia Records as in-house art director. From Wikipedia:

Columbia hired him in 1954 to lead the design department, building on the work of Alex Steinweiss who established the practice of custom cover art. Fujita was the first to commission painters, photographers and illustrators to create cover art for Columbia’s albums.

In the six years in this position – with a year-long break in 1957 – Fujita designed close to fifty album covers. The one for Dave Brubeck at Storyville: 1954 is one of his first, or maybe his first ever. As if he wanted to prove his inventiveness, Fuijta came up with a novel idea: a record sleeve dressed as a newspaper, designed to make waves. And indeed the press was hooked. In the issue from October, 30, 1954, The Billboard wrote:

An example of the increased attention given LP cover art is the newspaper approach taken by Columbia Records in its upcoming “Dave Brubeck at Storyville: 1954” set. Due out soon, the LP will be held in a jacket made up as the front page of “The Columbia Jazzette,” a sheet complete with weather report (“cool to sizzling”) and streamer story. News stories jump to the back cover, which also prints “interviews” with J. S. Bach and Jelly Roll Morton.

The cover design oozes with gimmicks, from a riff on the famous slogan of the New York Times (“all the jazz that’s fit to hear”) to a column with letters to the editor. The latter is concluded by a question from Mr. Brubeck himself:

Dear George: I think “The Columbia Jazzette” is a real crazy way to design album jackets and flyleaf notes. Who dreamed it up? — Dave Brubeck, Oakland, Calif.

Dear Dave: Our art director, Neil Fujita, had this flash of inspiration while relaxing after a hard day of bear-baiting and casing the March of Dimes collection box at the local movie house. I got back at him, though. He’s the one who had to piece my copy together, and I’m making him buy a new ribbon for my weary typewriter.

Fujita successfully imitated the North American newspaper typography of the time: sturdy Century Expanded for the body copy, with all-caps gothics for headlines. Franklin Gothic features in all three widths, including the Condensed and Extra Condensed. It’s supported by its siblings Alternate Gothic for the first article’s headline on the back and News Gothic for decks. The blackletter for the nameplate is Cloister Black (cf. Times Old English), set on a curve. The second line of the banner on the front exhibits some unfavorable loose letterspacing – but then again, such imperfections were common in actual newspapers as well, so this may be filed under “authentic” rather than “faulty”.

The six tracks on the album were recorded in concert at Boston’s Storyville in December 1953 and on March 30, 1954, as well as in Los Angeles, on July 22, 1954. Front photography by Seymour Mednick, liner notes by George Avakian.

The idea of record-cover-as-newspaper was copied numerous times, from The Genuine Imitation Life Gazette (The Four Seasons) and Volunteers (Jefferson Airplane), both in 1969, to Thick as a Brick (Jethro Tull) and Some Time In New York City (John & Yoko), both in 1972. It was revived in 1988 with G N’ R Lies (Guns N’ Roses) and Look Sharp! (Roxette). To my knowledge, Fujita was the first to do it.

[More info on Discogs]

Cloister Black on an angle, for Winchester Cathedral, the only release credited to Happy O’Hoolihan & His Teardrops. Released by Design Records in 1967, a label launched ten years earlier as a subsidiary of Pickwick Sales Corp., New York.

[More info on Discogs]

Front cover of Channel 1, released June 2000

Channel is a series of leftfield, electro and electroclash music compilation mixes released between 2000 to 2005. The channels range from one to four and feature a roster of British and international artists in a tracklist of 10 to 15 tracks, including Yello, LCD Soundsystem, Lopazz, and others.

Trevor Jackson, the founder of the now-defunct “highly acclaimed” Output Recordings (1996–2006), was known for designing the covers himself in the independent label’s art director role.

The first in this installment (released in June 2000) features a hot pink background (except fluorescent orange in the 2005 copies, not pictured) and text set in Berthold’s Akzidenz-Grotesk Bold, which was also used for the CD-R version (not pictured) released with Source UK, a tradename of the French label Source, but in a background of silver filled on the cover and the text being aligned on the centre above.

However, from Channel 2 to Channel 4, the band names on the front and track names on the back are a circus maelstrom of fonts with various backgrounds, including monochrome in two variants (one being white and black, the second being black on white) and metallic gold (pictured) and metallic silver (not pictured).

These fonts include classics from the metal type era as well as the 1970s/80s dry-transfer and phototypesetting years (including designs by ITC, Letraset, Mecanorma, VGC, Fotostar/Fascimile Fonts, and Photo-Lettering) in the styles of Art Deco, Victorian, Art Nouveau, geometric, etc. Note especially the early use of Tank by Canadian type designer Ray Larabie (in the 2004 compilation cover which by the way was possibly inspired by ITC Machine from 1970) and Boback from Nathan Williams’ Baseline Fonts foundry (not released until 2006) [edit: it’s probably the earlier Serifedsans].

Back cover, in left-aligned text and two columns

Channel Two, released April 2003: Centaur (Bruce Rogers, Monotype, 1928), Cooper Black (Oswald Bruce Cooper, Barnhart Brothers and Spindler, 1922), ITC Symbol (Aldo Novarese, 1984), Abbot Old Style (Joseph W. Phinney, ATF, 1901), Albertus (Berthold Wolpe, Monotype, 1936), Cottonwood (Barbara Lind et al., Adobe, 1989), Old English (Monotype, an adaptation of ATF Cloister Black, 1904), Memphis Bold (Rudolf Wolf, 1931), Studio (Dick Dooijes and Dolf Overbeek, Amsterdam Type Foundry, 1946), Too Much Shadow (Bill Seifert, VGC, 1974), Karnak Bold Condensed (Robert Hunter Middleton, Ludlow, 1931), Boback (Baseline Fonts, released ca. 2006, documented early use of an Alternate Gothic with serifs on the bottom) [edit: it’s probably the earlier Serifedsans], Helvetica Condensed (outlined, Stempel/Linotype), ITC Avant Garde Gothic (Herb Lubalin and Tom Carnase, 1970) and Hamilton (Font Bureau, 1993).

Back cover

Channel 3, released in June 2004 (pictured behind is the pink cover): Agraphicus (VGC before 1982, digitized by WSI in 1996 as Arruba), Tank (Ray Larabie of Typodermic, 2004 – the year this album was released in), ITC Busorama (Herb Lubalin and Tom Carnase, the creators of Avant Garde Gothic, 1970), Buxom (Bob Trogman of Fotostar/Fascimile, 1975), ITC Pioneer (Ronné Bonder, 1970), ITC Serif Gothic (Herb Lubalin and Tony Di Spigna, 1972), a condensed sans (probably a bolder style of FF Meta or similar), Shatter (Vic Carless, Letraset, 1973), Futura Black (Paul Renner, Bauer, 1929), Clarendon (Hermann Eidenbenz, Haas, 1953), Umbra (Robert H. Middleton, Ludlow, 1932), ITC American Typewriter Light (Tony Stan and Joel Kaden, 1974), and Raphael (Central Type Foundry, 1885)

Back cover with copyright and remix text in Helvetica (Max Miedinger, Haas, 1957)

Example spread of booklet that comes with the tracklist

Channel 4, released in September 2005: Fiorello (Photo-Lettering Inc., before 1965), Futura Light (Paul Renner, Bauer, 1927), Blackline (Wolf Magin, Berthold, 1973), Shotgun (J. Looney, VGC, 1972), ITC Busorama (see Channel 3 for info, here used with the asymmetrical A), ITC Zapf International (Hermann Zapf, 1977), Isabella (Herman Ihlenburg; MacKellar, Smiths and Jordan; 1892), Novel Gothic (shaded variant as seen in Solotype’s 3-D and Shaded Alphabets; Charles H. Becker and Morris F. Benton, ATF, 1928), Crypt, Sauce (unknown), University Roman (Letraset, 1972), Cooper Black (outlined variant) and ITC Serif Gothic Bold.

Back cover

Spine

The Dave Clark Five were the first British Invasion band to follow the Beatles to the USA in 1964. “In January 1964 they had their first UK top ten single, ‘Glad All Over’, which knocked the Beatles’ ‘I Want to Hold Your Hand’ off the top of the UK Singles Chart. It peaked at No. 6 in the United States in April 1964.” – Wikipedia. This compilation album was released in the same year by Epic Records, featuring “Bits and Pieces”, another hit single which peaked at number two in the UK and number four in the US.

The band name is set in an all-caps slab with bracketed serifs. Known as Aldine, it was first shown as wood type by William H. Page in his 1870 Specimens of Wood Type. The album title uses Binner (ATF, 1899), the song titles are set in Cooper Black (BB&S, 1922).

[More info on Discogs]

The album was first released with a different cover, without the track names and featuring a photo showing the band without instruments. Note the clipped overshoot in Aldine’s C, which has been restored in the revised version.

The back cover has liner notes in Optima and a track list in caps from News Gothic.

The title on the cover is set in spaced caps from Gothic Extended No. 40. The author’s name is added in Jenson Old Style.

Here is a book entitled Two Villages, by Louisa Brannan, published by Every Where Publishing Co. in circa 1911. Unfortunately, I could not find more information on the author, or the book.

But I stumbled upon the title page, and immediately got excited about the typeface used for the title, which is De Vinne (c. 1892) by Gustave F. Schroeder. I can’t tire of seeing that G with its towering vertical and sharp spur; that wide E with serifs that put so much emphasis on the horizontal strokes; and yes, even that backward-falling calligraphic S!

Title page featuring De Vinne and Jenson Old Style. The publisher info appears to be set in the same face as the text, see below.

Chapter opening, with the book’s title in all-caps Cheltenham.

The text typeface appears to be MacFarland (or one of the other American adaptations of Römische Antiqua).

The typeface used for the sticker on the back is unidentified.