Wikipedia:

Sound Affects is the fifth studio album by the English rock band the Jam. The album was released on 28 November 1980 by Polydor Records. It is the only Jam album to be co-produced by the band themselves, and contains the only album track co-written by the entire band, “Music for the Last Couple”.

The cover art is a pastiche of the artwork used on various Sound Effects records produced by the BBC during the 1970s.

Jam frontman Paul Weller has opined that Sound Affects is the Jam’s best album.

Despite being a tribute to the BBC Sound Effects records, the album title uses a surprisingly different font: Vineta, in italic caps with shadow. “JAM” and “NO. 80” appear to be added in Univers Bold Italic. “POW!” is in Stencil. The artist and title on the back useEurostile Bold Extended, accompanied by Helvetica.

The back cover of the album features an excerpt from Percy Bysshe Shelley’s poem The Masque of Anarchy.

Flyer for a post-punk gig with Uzu and Drim, at les Pavillons Sauvages in Toulouse, France.

“Juvenile” (2017) was The Blaze’s debut single.

I was playing Tame Impala on my phone and, while staring at their great album art, I started wondering why so many artists reach for Eurostile. Admittedly, Tame Impala actually use Microgramma in their title treatment – but since Microgramma is Eurostile's caps-only predecessor (both originated at Nebiolo), it’s close enough to count. That got me thinking about French electro duo The Blaze, who use Eurostile consistently on their album cover art and across the titles of their (genuinely amazing) music videos.

The debut album Dancehall was released in September 2018 on Animal63. Design by Dreams Office with art direction from Manu Barron and photography by James Briandt.

Track list for Dancehall

CD label for Dancehall

The second album Jungle followed in March 2023, again with a cover by Dreams Office. The vinyl version was again released on Animal63, the CD on Believe Digital.

Back cover of Jungle

The latest album, Folk, was recorded live at the Royal Albert Hall and released in July 2025.

“Like to Get to Know You Well” is a 1984 single by English singer Howard Jones. From Wikipedia:

The sleeve carried the motto “Dedicated to the original spirit of the Olympic Games” as the single was released at the start of the 1984 Summer Olympics in Los Angeles. The extended version, subtitled “international remix”, features Jones singing in English, German and French.

This international aspect carried over to the single’s sleeve design, where the uncredited designer depicts the title in a variety of (badly translated) languages and fonts. The artist name as well as English and French titles use Berling Bold. The Dutch title uses News Gothic Extra Condensed and the Spanish one Americana Extra Bold. The German is in Beton Bold Condensed, while the Japanese is in Gothic MB101. Italian is Futura Demibold. The Greek is in Eurostile Extended Black, with alterations made to create some faux-Greek glyphs. Finally, the Swedish uses Plantin.

[More info on Discogs]

“Bounce Right Back” on the back cover uses Berling as well.

A later release of the single replaced the badly translated Japanese with a slightly less bad translation, and replaced the Swedish at the bottom with “12″ International Remix” in Helvetica Bold.

The AE-1200WH-1AV, the default black resin model

The Casio AE-1200, first released in 2012, is yet another legendary line of digital watches made by Casio. The watch has earned its wide respect from its strong reliability, 100m water resistance, and especially its world-time function at a price only slightly higher than the F-91W. Not only has it spawned its own dedicated modding community but it has earned the nickname “Casio Royale”.

In typical Casio fashion, the watch’s face is littered with guides that describe the features. Though unlike Casio’s other popular watches, the design is notably much more restrained and rather tasteful. The face uses a mixture of Eurostile and Neue Helvetica Extended for the text.

An AE-1200WHL-5AV which comes with a beige color scheme and a leather strap

The AE-1200WHD-1AV is the most striking and most popular variant of the Casio Royale due to its metal appearance.

My own black AE-1200

A modded AE-1200 with a custom strap and a custom filter on the display

The L-1011 TriStar was an early American wide-body, trijet civil passenger airliner designed and manufactured by Lockheed Corporation. Introduced in 1972 with launch customers Eastern Airlines and Trans World Airlines (TWA), the L-1011 was produced until 1983 and flown by major carriers around the world through the 1990s.

Shown here in manufacturer livery, the empennage uses Motter Tektura (with custom capitals) to indicate the marketing name of the aircraft. A bold Eurostile marks the manufacturer and model number on the fuselage (and probably the smaller registration indication, as well).

Front cover

Moon Safari is the debut album by French electronic duo Air. Featuring the singles “Sexy Boy”, “Kelly Watch the Stars” and “All I Need”, the album was a huge critical success and a landmark title in the downtempo genre. The album design is by Mike Mills.

The artist name uses ITC Pioneer. The A has been modified, with the top left corner of the glyph and the counter being changed to right angles. The length of the shadows have also been extended. All other text on the cover, back cover and inner sleeve use Eurostile.

Back cover

Inner sleeve of the vinyl release by Astralwerks

In 2021, Dave Depper of Death Cab for Cutie released a cover album covering Moon Safari. It seems the designer of the new logo, Katie Geppert, was unaware of the original font, so modified a different font (Sporty Pro Xbold?) to look like ITC Pioneer.

Merch scarf designed by Ignasi Àvila Padró for Catalan artist gavina.mp3, using Eurostile Bold Extended and featuring excerpts from the lyrics of his song “Ho sento molt” (“I’m very sorry”). Distributed by Recreo Store, the scarf is currently sold out.

OH no Type’s Hobeaux Black is used for the logo.

Hetero Awesome Festival (yes, it was named that) was an event held in Boise, Idaho, between June 20 and 21 of last year at Cecil D. Andrus Park, within a stone’s throw of the state capitol. Organized by Mark Fitzpatrick – owner of Old State Saloon in nearby Eagle, current GOP candidate for state governor, and noted dingus – the event ostensibly celebrated “Traditional Values”™ (a dogwhistle for queerphobia) and, uhh… how should I put this?

Ah right, it stunk. [Jon Lovitz voice] It stunk!

The event was a complete and abject flop – being outclassed and outmanned by the Boise Pride parade happening at the same time, as well as being parodied by the drag/burlesque performance “But, What About Straight Pride?” held at the Balcony Club in the same city. About the only good thing that happened there was local queer artist Daniel Hamrick accidentally being brought on stage and doing a pro-trans protest song, which I think deserves a “hell yeah.“

About 30–50 people attended the event, which should tell you how insignificant it was in the long run. Overall, it was just… eurgh. Hamrick’s performance, though… that earns a point.

1/10; would not awesome again.

Ditto, with tagline also set in Hobeaux. “VOLUNTEERS AND SPONSORS NEEDED” is set in Dharma Type's Bebas Neue (presumably the dafont.com version). The date and the URL are in Chaloops. “Hetero” is set in Heiback and “AWESOME” in Microgramma.

The History of Rhythm & Blues vinyl record series is a 1960s compilation of various R&B records from various eras. The first volume covers the roots era (i.e., 1947-1952).

Two swashy typefaces from PLINC are used for the main title: PLINC Bookman Swash and West Behemoth Italic Swash.

[More info on Discogs]

Volksans is the brand typeface used by SMD. The logo is based on Eurostile, with modications.

From their website:

For over 50 years, our pioneering world-first-engineering has supported our subsea partners to thrive in the toughest underwater environments, and grow sustainably with new capabilities.

Based in the North East of England, we’re continuing to grow. With a proud legacy, we deliver cutting-edge technology to help our clients achieve excellence underwater. Our robotics, engineering and technologies help the world to generate and distribute energy, to communicate, develop and evolve. Today we’re at the forefront of making offshore and underwater activity safer, more sustainable and more beneficial to people and the planet.

The Quantum EV is a remotely operated underwater vehicle (ROV).

The Muppet Show Book was published in 1978 by Harry N. Abrams, Inc. The book adapts material from the first two seasons of The Muppet Show, with illustrations by Tudor Banus.

The main text font used throughout the book is ITC Souvenir. The characters’ names and initials are each set in a unique font, see the image captions for details. A few minor characters’ names are in ITC Souvenir.

“Introduction” is in the roman style of Bookman Swash. The character-specific fonts are Art Gothic for Kermit the Frog; Sweetheart for Miss Piggy; Yagi Link Double for Sgt. Floyd Pepper; Benguiat Laurent (with Psychemat effect) for Dr. Teeth [edit: rather Bullseye, a copy of PLINC Capricorn, see comments]; ITC Neon for Zoot; Crayonette for Janice; and Shatter for Animal.

Second page of the introduction, ft. Interline for Statler & Waldorf (without the pattern fill in Statler’s case); Scorpio/Hoopla for Fozzie Bear; and Burst Caps for Crazy Harry. The sound effects (“BANG”, “HA HA HA …”) are in caps from Caslon No. 471/540 or similar.

ITC Bookman Demi with swash caps

“THE NEW GO-FER” is in Franklin Gothic Extra Condensed.

An outline version of Cooper Black is used for Scooter and Hobo for George the Janitor.

Reward poster for Kid Fozzie, ft. Figaro

The typeface chosen for Rowlf is Reklameschrift Secession.

Moore Computer features for Kermit’s robot doppelgänger.

“GONZO THE GREAT” uses more of the aforementioned Caslon caps. The character font is Lydia.

Sam the Eagle is presented in a chromatic setting of Stripes Caps.

Cloud Bank for Dr. Julius Strangepork and Countdown for Captain Link Hogthrob

The initial I is from Thunderbird.

The initial S is unidentified.

Microgramma Condensed is used for Nigel

The formal script used for “The Lives and Loves of Gonzo the Great” is Typo Script Extended.

Round Rosie is the font used for Vincent Price’s initials … 

… and Smoke is the one chosen for Uncle Deadly.

Dr. Bunsen Honeydew is set in Gemini.

Filmotype Pixie was spec’d for Hilda.

Another Bookman Swash

Manuscript Capitals for “Bein’ Green”

The P from Mira identifies Koozebanian Phoob.

Chianti is used for Robin.

Kermit the Pig is in an unidentified font similar to Rubens and Duerer.

Playbill is used for J.P. Grosse. On this page, the o’s in Scooter’s name are altered to look like his glasses.

Source: www.arcade-museum.com License: All Rights Reserved.

Japanese flyer. The Japanese fonts are unidentified.

Hippodrome, known as Fighting Fantasy in Japan, is an arcade fighting game by Data East. Per the game's flyer:

You are about to enter a different time, in a different world – a world where gladiators still fight in arenas of stone. And once a year, there is a worldwide competition to determine the best fighter on the planet, the creature with the strongest combination of power and skill.

The time for the competition has arrived. This is your chance to test your prowess against the mightiest warriors alive. Creatures are gathering from all over the planet to vie for the title of World Champion at the Hippodrome!

The titles on both the US and Japanese arcade flyers are based on Arnold Böcklin, to varying degrees of accuracy. The Japanese title is largely faithful, outside of the top left of the Y and a sword replacing the T in Fantasy. The American flyer on the other hand uses completely different glyphs for H and I. Interestingly, the pixelated version used on the title screen in-game has a much more accurate recreation of the original Arnold Böcklin font.

Source: www.arcade-museum.com License: All Rights Reserved.

American flyer with artwork by Frank Cirocco. Text is set in different styles from Eurostile which is also the typeface used for the Data East logo.

Source: retrovania-vgjunk.blogspot.com License: All Rights Reserved.

The American title screen for Hippodrome. Notice the more accurate depictions of H and I.

Source: retrovania-vgjunk.blogspot.com License: All Rights Reserved.

The Japanese title screen

Loading screen for the ZX Spectrum video game The Bird and the Bees II: Antics

Bug-Byte Software was a UK software publishing house active at the end of the 1970s and the early part of the 1980s before it dissolved and was re-acquired and used as a brand label.

During its most popular and prolific period, when it published titles like Mazogs, Twin Kingdom Valley, The Bird and The Bees, and the hugely popular and influential Manic Miner, it often used the Bug-Byte wordmark in Television (and Microgramma). Antics, the sequel to The Bird and The Bees and published in 1984, may mark something of a transition: it appears the product packaging used a new neon wordmark, but the loading screen for the game itself has a rendition of the Television wordmark.

I don’t know if Mazogs, June 1982, is the first Bug-Byte advent to use the Television wordmark, but opposite this advert on the opening is a different Bug-Byte ad that has their wordmark in Penny Farthing. The copy in this ad uses ITC Kabel. Sinclair User in the same month runs the Mazogs advert in blue.

Detail from the instructions included with Mazogs, published 1981. The game title is in Profil. Body text is reproduced from material printed on an Epson FX-80 dot matrix printer, or something very similar.

Advert for Twin Kingdom Valley, a text adventure. Or Interactive Fiction as some people now call them. Ad copy uses News Gothic and Futura.

Wordmark rendered on the ZX Spectrum loading screen for The Birds and The Bees; clearly based on Television.

Cassette inlay cover for the ZX Spectrum version of Manic Miner published by Bug-Byte (also later published by Software Projects).

Ear Candy is a compilation album with songs by various artists signed to Twentieth Century Fox. The cover is a literal take on the title, with a candy bar for each of the seven featured artists and songs. Some of the typefaces were rendered by hand.

Design by George Corsillo with illustration by Fred Nelson and art direction by Tim Bryant Design.

[More info on Discogs]

The Seamus-O Building, 4700 Lorain Ave, Cleveland, Ohio, has a sign in caps from Eurostile.

Precious little is known about this building. It’s a shame, given how boldly its name appears.

This compilation with “The Very Best of Chevalier” brings together a dozen hits by French singer, actor, and entertainer Maurice Chevalier (1888–1972), including “Valentine”, “Louise”, “Mimi”, and “Thank Heaven for Little Girls”. It was released in 1964 by MGM Records.

The big caps for “CHEVALIER” appear to be custom lettering, loosely based on Broadway (Condensed). The rest of the uncredited cover design is exclusively typographic, featuring twelve styles from ten typefaces (Peignot is represented by two weights, and Ultra Bodoni by roman and italic styles). Broadway also appears in unmodified form, for “Did You Ever See a Dream Walking”. Can you spot the LTypI?

[More info on Discogs]

Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? is a British musical film from 1969. Anthony Newley (1931–1999) co-wrote the script, served as director, played the lead role, and composed the score. From Adam White’s 2017 article for the Telegraph:

Famed at the time for its ludicrously unwieldy title, 1969’s Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? is a surrealist sex-drenched disaster that could only ever have been made in the more free-wheeling Sixties. Released to significant controversy for Universal Pictures and given an X rating, it was dubbed “an act of professional suicide” by the New York Times.

The cover of the soundtrack album by Kapp Records is an adaptation of the movie poster, with illustration is by Robert Tanenbaum. It uses typefaces that all were available from Californian phototype company Lettergraphics. Most of the text is set in various widths and weights of Microgramma – at Lettergraphics, Microgramma and Eurostyle [sic!] were distinguished solely by whether the font was all caps or had a lowercase, without differences in the design. The title is a potpourri of Sans Shaded, Bodidot Flair (a copy of Pistilli Roman, with swashes), a generic sans in italic caps and small caps, Windsor Contour, Torena Italic Flair, Holiday, Groovy, and Gras Serrés Italique.

A badge created by Sam Potts for the Judge John Hodgman podcast.

Battle Mask, 1970. Secondary text is in Trade Gothic and Gothic No. 13 or similar.

Matterhorn is used for Don Pendleton’s The Executioner series from Pinnacle Books. Shown above is the first printing of the third book, Battle Mask, published in April 1970. The shorter bar in the first letter of the tt combo and the shorter bottom bar in E are likely contextual modifications. This masthead became the standard for the series starting with the the seventh book and the series’ many reprints until sometime in the late 1970s, several of which are shown below.

From Wikipedia:

The Executioner (a.k.a. Mack Bolan) is a monthly men's action-adventure paperback book series (published from 1969–2020) following the exploits of the character Mack Bolan and his wars against organized crime and international terrorism. The series has sold more than 200 million copies since its 1969 debut installment, War Against the Mafia.

The regular series includes 464 novels (as of December 2020 when the series ended). […] The Executioner was created and initially written by American author Don Pendleton, who penned 37 of the original 38 Bolan novels (he did not write #16).

War Against the Mafia, 1972 (8th printing)

Death Squad, 1971. Text in the angled band is in Eurostile Bold Condensed and the synopsis in Helvetica Bold.

Miami Massacre, 1970. Text in the angled band is in Franklin Gothic and the synopsis in Helvetica Condensed.

Continental Contract, 1971

Assault on Soho, 1978. Matterhorn is paired with two weights of Helvetica Condensed.

Nightmare in New York, 1971

Chicago Wipe-Out, 1978

Vegas Vendetta, 1979. Text in the angled band is in Akzidenz-Grotesk Condensed and the synopsis in Trade Gothic Bold.

Caribbean Kill, 1972

California Hit, 1972

Boston Blitz, 1974

Washington I.O.U., 1978

San Diego Siege, 1972. Cover art by Gil Cohen.

Panic in Philly, 1973. Cover art by Gil Cohen.

Sicilian Slaughter by Jim Peterson, 1973