Loose New Roman in use for John Lisco’s jacket design for Nelson Doubleday’s 1977 book club edition of Llana of Gathol and John Carter of Mars, with wraparound art by Richard Corben. The omnibus edition merges the last two books in the Barsoom series by Edgar Rice Burroughs (1875–1950).

[More info on ISFDB]

From Wikipedia:

The Deceivers is a 1988 adventure film directed by Nicholas Meyer, starring Pierce Brosnan, Shashi Kapoor and Saeed Jaffrey. The film is based on the 1952 John Masters novel of the same name regarding the murderous Thuggee of India.

Maurice Binder – best known for creating the gun-barrel sequence of the first Bond film, Dr. No – designed the opening titles. For the typography, he used Loose New Roman. I’ve always understood the first part of its name to refer to the typeface’s casualness, using an adjective that better works for mimicking “Times New Roman” than “Casual New Roman” would do. Binder gave it a second meaning by opening up the spacing. 

The historical drama is set in India. Binder hinted at this fact by adding a horizontal bar above the second word in the title, referencing the head line or śirorekhā that’s so characteristic for the Indic Devanagari script. It’s a quick and easy way to communicate “India” to a Western audience … but maybe it’s a little too easy, and not culturally sensitive. This question aside, the execution isn’t convincing on a formal level: the bar looks slapped on and doesn’t blend in with the ductus of Loose New Roman. Furthermore, the Latin lowercase letters aren’t connected to the head line. This way, the treatment has more in common with the Ferrari wordmark than with actual Indic writing.

Viking Press, 1976

Just like Butley, Otherwise Engaged is a play by English playwright Simon Gray. It premiered at the Queen’s Theatre in London on 10 July 1975, again with Alan Bates as the star and Harold Pinter as director.

When Viking Press brought out a book edition in 1976, Roy Kuhlman was once more commissioned with the jacket design. As with Butley, he worked with a posterized photo (by Donald Cooper) printed in flat colors. This time, he went with John N. Schaedler’s Super Cooper as the typeface. Kuhlman’s design was reused with different colors and rearranged typography for Penguin’s paperback edition, see below.

Penguin Books, 1977

The Scientist (born Hopeton Overton Brown) is one of the most influential figures in dub music, with over 60,000 recordings to his name. His contributions to the genre have spanned from Studio One to King Tubby’s, Channel One to Tuff Gong, and he pioneered recording techniques that elevated the dub mix to an art form.

Due to the Scientists’ distinctive process of creating dub records, we meticulously crafted the layout to encapsulate the essence of the direct-to-dub process.

Direct-To-Dub was released on Night Dreamer Records.

[More info on Discogs]

1974 reissue of demo sessions recorded by Soft Machine in London, April 1967, and originally released under the title Faces and Places Vol. 7 in 1972.

The cover for Bellaphon’s release was designed by Patrice Larue, using two typefaces available from Letraset at the time: Odin (1972), a Letraset original by Bob Newman; and Tabasco, an early-1970s phototype design by John N. Schaedler that was adapted by the manufacturer of rubdown type in 1974.

[More info on Discogs]

Der Trommelknabe is the German title of The Hessian, a novel by Howard Fast (1914–2003) set in the time of the American Revolution. First published by William Morrow in New York in 1972, it was translated from the American English by Käthe Recheis (1928–2015) and published by Fritz Molden Verlag, Vienna, in 1975.

The bold typeface used for all words on the book jacket is a phototype-era design that originated at Schaedler as Super Cooper. It was also known as Super Dooper at Solotype. German typesetting company Fürst had it under the name Cooper Super, and the Typeshop chain – with an office in Vienna – named it Schmidt Casual. See the typeface page for more information.

Tabasco Bold with some of its extending alternates, on the cover of an album released on the occasion of the Bundesgartenschau 1975 – Germany’s biennial federal horticultural show – in Mannheim.

Local musicologist Klaus Hiltscher a.k.a. Affendaddy, the Rock’n’Roll Accountant, comments (translated from the German):

Just discovered in my archive. An unfortunate LP. In 1975, a year in which every young person in Mannheim between 10 and 39 had completely different interests than choirs, folk music and marches, such an LP was released. I had this LP in my record department at Musikhaus Pfeifer for a year and nobody, absolutely nobody, was interested in it. Okay, we were a rock & pop store, but we also sold Joy Fleming, Die Hemshof Friedel, and Joana, but this LP was totally out of place. Not the slightest touch of 1975 modernism. Probably sponsored by the Mannheimer Morgen!

The Hunter from Kurpfalz as drawn by comedian Loriot served as the mascot for the Bundesgartenschau.

Designed by John N. Schaedler and originally issued for phototypesetting, two weights of Tabasco were added to the Letraset range in 1974, and consequently saw wider dissemination.

[More info on Discogs]

The back cover with the city’s marketing copy in three languages is set in Univers.

Title card

Bluey – not to be confused with the 2018 children’s animated show of the same name – is a short-lived 1970s TV crime drama starring Lucky Grills as the namesake Bluey Hills, aired on Seven Network for only an entire year.

The title as well as the episode title card use Tabasco, with the bold weight being used for the show title and the episode title, and the medium style used on sub-texts.

Actor/actress name.

Episode title card.

Via the excellent Twitter account Video Game Art & Tidbits, a set of Super Mario Christmas cards printed by Nintendo in 1989. Our beloved plumber, strangely alone but nonetheless cheerful, is depicted prepping for the holidays. Some shaded Capone Bold rings in the season with festive deco flair while Mario packs some snowballs and trims a tree. Tabasco’s funky descenders feel slightly less festive but make a fun impact (especially on the confusingly punctuated “Merry, Mario Christmas”).

The official Star Wars T-shirt from 1977 features the iconic logo by Suzy Rice on the front, and “May the force be with you” on the back. The latter is set in all-caps Tabasco, with some of its alternate hyper-extended glyphs.

If you purchased the soundtrack to Star Wars in 1977, the flyer shown above was inside. It additionally uses Helvetica (incl. the Black weight which served as basis for Rice’s logo), Stencil (ATF) set on an angle, and Futura (for “black T-shirt only”).

Tabasco in use for the letterhead of Canadian Psychological Consultants, Montreal. The face by John N. Schaedler features with many of its extending alternates. I wonder what a psychologist would make of all these extended bits. Sweet Jesus! Any specialists in typo-graphology?

Reproduced in Modern Publicity, 1978. Design by Harry Agensky, a Canadian architect, graphic designer, illustrator and painter, who nowadays is devoted to “Playful Observational Art”.

Close-up.

“Birthday” (No. 307). Illustration by Tom Sawyer. The typeface is Davison Dimensional.

Covers for various clip books of line art issued in 1978 by Harry Volk Jr. Art Studio, Pleasantville, New Jersey. Each booklet features another face for the cover, typically in an attempt to echo the topic in the typeface choice, see e.g. the graphic Futura Black for “Graphic Arts”, the 19th-century Bracelet for “Western”, or the engraved Bond Shaded for “Money”. This volume uses Kabel Black for the bottom line, framing the logo designed by Herb Lubalin in 1976. The heavy border with rounded (and sometimes inset) corners was introduced in 1976, too, but wasn’t seen on most issues from 1977.

See the previous post about the clip books issued in 1955 for more information on Harry Volk Jr. Art Studio.

“Wedding” (No. 304) ft. Tintoretto.

“Holidays” (No. 305) ft. Caslon Antique.

“Homes-Buildings” (No. 306) ft. caps from Compacta set on an arc. The fanning suggests this was set with phototype, as ooposed to dry transfer lettering.

“Graphic Arts” (No. 308) ft. Futura Black.

“Expressions” (No. 309) ft. Archie in all caps.

“Religion” (No. 310) with what looks like some sort of Normande Italic. Berthold’s phototype version comes close except for the n.

“Winter” (No. 311) ft. Goudy Heavyface in italic all caps.

“Occupations” (No. 314) ft. Dynamo. Originally issued in 1930, this design was revived and extended at Letraset in the late 1970s.

“Spring” (No. 315) ft. Mania. Illustration by Tom Sawyer.

“Marine” (No. 700) ft. Tip-Top.

“Western” (No. 701) ft. Romantiques No. 5 / Bracelet. This ornamented Tuscan originated in the 19th century. It was available for dry-transfer lettering from Mecanorma (as Tuscan Ornate) amd Letraset (as Romantiques No. 5).

“Executives” (No. 704) ft. Columna Solid.

“Tourism” (No. 705) ft. Solemnis. Illustration by Tom Sawyer.

“Couples” (No. 706) ft. Yagi Double.

“Safety” (No. 707) ft. caps from Compacta Outline.

“Christmas” (No. 712) ft. the ornate Green Buzzard.

“Transportation” (No. 715) ft. Compacta Italic.

“Family” (No. 716) ft. Benguiat Caslon with swash alternates.

“Landmarks” (No. 717) ft. Saphir.

“Environment” (No. 718) ft. all-lowercase Charter Oak, tightly spaced.

“Money” (No. 719) ft. a version of Bond Shaded, probably Bond Shaded. Illustration by Tom Sawyer.

“Children” (No. 720) ft. all-caps Mistral.

“Groups” (No. 721) ft. a bunch of people pointing at tightly spaced caps from ITC Zapf Book Heavy.

“Circus/Fair” (No. 722) ft. West Barnum Ultra.

“Contests” (No. G86) ft. more Benguiat Caslon, this time in all caps. The logo of the Grafika subseries is in ITC Fat Face with ligatures for ra and fi, accompanied by Kabel Light with omitted tittles.

“Design Devices” (No. G87) ft. Harlow, a Letraset release from 1977. “ZAP” is probably custom lettering.

“Something Extra” (No. G89) ft. Slim Dandy, a variation of the Mansard theme, by Lettergraphics.

“Lankies” (No. G90) ft. Churchward Design Sparkly.

“Symbols” (No. G91) ft. Cucumber

“Printed Forms” (No. G93) ft. Gonzales Jeanette with Akzidenz-Grotesk Condensed and Windsor.

“Big & Strong” (No. G94) ft. Atlas and more Mania, set on a curve.

“Announcers” (No. G95), again with Slim Dandy.

“The Wedding” (No. 268) ft. Bookman Swash Bold in all caps italics with three swash alternates.

Covers for various clip books of line art issued in 1975 by Harry Volk Jr. Art Studio, Pleasantville, New Jersey. See the previous post about the clip books issued in 1955 for more information on Harry Volk Jr. Art Studio.

In most issues from this volume, “Clip Book of Line Art” is set in a light weight of ITC Avant Garde Gothic, with alternates for A and e.

While Volk predominantly used phototype styles from Filmotype’s library in the late 1950s and early 1960s, they had switched to Photo-Lettering (and later ITC) by the end of the 1960s. The covers in this post also feature a number of faces that originated elsewhere. Burko was issued by Headliners (and copied by Facsimile Fonts as part of the Blippo series). Checkmate started out at Schaedler (and was adopted by Photo-Lettering). Yagi Double is a Facsimile Fonts creation. Their Bob Trogman claims credit for Uncle Bill. Zipper and Premier Shaded are Letraset originals. Archie and Rock Opera may have been created at Lettergraphics (the latter is a derivative of Letraset’s Frankfurter).

Or did Volk maybe tap into Formatt’s library of faces for dry-transfer lettering? Their catalog no. 5 from 1974 shows several of the styles used on these covers, including Rock Opera, Tip Top, Eurostile, Uncle Bill (as Brother Bill), Checkmate (as Tournament), Copperplate (as Broker Shaded), Archie (as Chuckle), Yagi Double (as Circuit Double), and Titan.

“Holidays” (No. 269) ft. Benguiat Caslon.

“Entertainment” (No. 271) ft. ITC Neon, set on a curve.

“Telephones” (No. 272) ft. Cooper Black Italic with swash caps and Folio with biform alternates.

“Occupations” (No. 273) ft. Eurostile Bold Extended and Akzidenz-Grotesk.

“Winter” (No. 274) with one of the adaptations of Mexico Olympic, probably Hotline by Lettergraphics.

“Men” (No. 276) ft. Checkmate.

“Spring” (No. 279) ft. Saphir.

“Holidays” (No. 277) ft. Archie.

“Circus-Fair” (No. 628) ft. West Barnum Ultra.

“Spring & Summer Sports” (No. 629) ft. more Eurostile Bold Extended.

“The Farm” (No. 630) ft. ITC Busorama with its alternate glyphs.

“Summer” (No. 631) ft. caps from Tip-Top.

“Medicine” (No. 632) ft. Columna.

“Media” (No. 635) ft. Burko.

“Homemaker” (No. 637) ft. Zipper.

“Human Relations” (No. 638) ft. Columna Solid with what looks to be a customized R, or maybe an alternate that was exclusive to some (VGC’s?) phototype version. Bauer’s original (open) Columna has two forms for this letter, none of which matches the one seen here.

“Fall & Winter Sports” (No. 639) ft. Revue with EndcapS.

“Christmas” (No. 640) ft. American Uncial Initials for “Christmas”, with the text version used for the line below. [Thanks, Bryson!]

“Crowds” (No. 643) ft. Premier Shaded.

“Couples” (No. 644) ft. Yagi Double.

“Safety” (No. 645) ft. Stencil (Ludlow).

“Teens” (No. 647) ft. Rock Opera AKA Shady Deal, a copy of Frankfurter with a line pattern fill.

“Groups” (No. 648) ft. Uncle Bill.

“Industry” (No. 649) ft. Blippo Black.

“Children” (No. 650) ft. Davida.

“Borders” (No. G60) ft. Orbit Shaded. The logo of the Grafika subseries is in ITC Fat Face. The script appears to be lettering.

“Pointers” (No. G53) ft. Novel Gothic with arrows.

“Conrad Zilch” (No. G51) ft. Banco …

… accompanied by “Cora Zilch” (No. G56).

“Design Devices” (No. G54) ft. Titan, a Baby Teeth follower of unclear origin.

“Money” (No. G59) ft. Bond Shaded AKA Bond Shaded.

“Contests” (No. G61) ft. Orbit Rimmed.

Czechoslovak poster for the British horror comedy Arnold, directed by Georg Fenady and starring Stella Stevens, Roddy McDowall, and Elsa Lanchester. The Czech title Drahý zesnulý translates to “Dear deceased”. Graphic designer and illustrator Vratislav Hlavatý used Tabasco Bold with overlapping glyphs, descending alternates for h and s, and custom accents. Paired with his illustration, Tabasco here feels much more at home than on the minimalist Kraftwerk album cover.

Source: www.flickr.com John Wray. License: All Rights Reserved.

We’ve published a post about the German single sleeve for “Autobahn” earlier this week and mentioned that it uses the same basic artwork as the album cover as released on Philips Records, with Futura caps and the painting by Emil Schult (who, like Hütter and Schneider, studied in Düsseldorf). The UK release on Vertigo is very different, both in design and typography, and warrants a post on its own.

Most commentators emphasize the use of the motorway sign as the only pictorial element. It effectively turns the record cover into a traffic sign that declares: “From here on, no limits”. And indeed this audacious appropriation of a universally known symbol and everyday object is genius, and a consequent continuation of the striped cones that adorned the group’s first two albums. (Aside: As a kid, I couldn’t recognize the perspective road lanes with bridge. To me, it was the “trousers symbol”: two legs, complete with belt and suspenders. Today I can’t unsee an A for Autobahn in it. Not sure if this second layer was intended.)

Since this is Fonts In Use, let’s take a closer look at the type. While the use of Futura caps strikes me as almost too obvious – they’re a short hand for reduction/precision, Germany, cars, with endless “future” right in the name – the letterforms used for the UK release baffled me. I would have understood the choice of something like Bauhaus Geometric. But Tabasco?

Source: www.ebay.co.uk mattie_222. License: All Rights Reserved.

Detail of a dry-transfer lettering sheet showing the caps of Tabasco Bold. Originally released by Schaedler in New York, the phototype family spanned three weights (Light, Medium, Bold) plus a biline variant named Paprika. The Medium and Bold were adopted by Letraset in 1973/1974. Ascending/descending alternates were available for a range of letters.

This face may have some of the same features, like simple construction and monolinear lines. However, it’s much more lively, not sterile at all, with bulging curves, and feels like the (already twisted) 1970s view of Bauhaus letterforms cross-bred with Advertisers Gothic from 1917. In sum, rather funky and American than Teutonic and robotic. This is reinforced by the use of the hyper-extended alternates. Then I read what Colin Buttimer wrote on his excellent (but sadly dormant) Hard Format blog, and the font choice makes more sense:

Typographically, the design is fascinating as well. The letters R, W, R, A, U, A and H in the title are escaping from their settings, literally tracing new roads, setting off for destinations unknown. At the same time they’re dancing – the W, U and H waving and punching the air and the Rs and As stretching their toes out. The letter forms presage the tremendous influence the group would have on dance music and on the musical world as a whole.

Source: www.ebay.co.uk eatinglonggrass. License: All Rights Reserved.

Printed in a single color, the cover is enhanced by blind-embossing the white lettering and the symbol.

No designer is mentioned. It has been suggested that it could be the work of Barney Bubbles, who was commissioned by Vertigo Records for other cover designs. Discogs credits him for their version of the previous Kraftwerk album from 1973.

For the 2009 re-release on Kling Klang, Schult’s painting had to make way for the more iconic motorway symbol. Unsurprisingly, Tabasco was ditched in favor of “timeless” Futura caps. The cover adaptation has one major flaw: The road doesn’t bleed off the edges. Again Colin Buttimer nails why this is crucial:

Autobahn is fascinating because of its translation of the concept of travel into musical form. This transmission from one medium to another wasn’t a new one, but the extent to which it reduced the distance between musical composition and referent was and remains striking. Its central motif isn’t a melody, but the sound of cars approaching and moving away from the listener. The design perfectly encapsulates this by appropriating the motorway symbol and placing it so that it fills the cover from top to bottom. There is no end to the journey in graphic terms, it’s implied that the road continues outside the frame of the cover. Similarly the music ends with one more passing car rather than the sound, say, of an engine being turned off (Autobahn’s railway counterpart, Trans-Europe Express, ends with the sound of train brakes squealing).

[More info on Discogs]

Source: www.hardformat.org Hard Format. License: All Rights Reserved.

Front cover

Source: www.hardformat.org Hard Format. License: All Rights Reserved.

Back cover

Source: www.hardformat.org Hard Format. License: All Rights Reserved.

Detail from the back cover, with track list, lyrics of the title track, and credits, alls set in all-caps Futura.

Source: twitter.com John Coulthart. License: All Rights Reserved.

John Coulthart comments:

#nowplaying The vinyl, not the tape which isn't exactly hi-fidelity. The cassette was the first Kraftwerk I bought, however, so it's a sentimental keepsake. The cover caught my attention before I even heard the music. I’d stand outside the local record shop every week wondering what all the albums with strange artwork sounded like. One day this appeared. “Wow, they used a traffic sign!”

“Spring” (No. 291), ft. all-caps Benguiat Caslon with swash alternates, set on an angle. The small type in the arrows is in reversed Helvetica caps.

Covers for various clip books of line art issued in 1976 by Harry Volk Jr. Art Studio, Pleasantville, New Jersey. This year marked their silver anniversary, see the “Spring” booklet above, indicating that the company was established in 1951. The celebration continued in the following year, see the covers from 1977. According to Bart Solenthaler, Volk went out of business sometime in the 1980s.

See the previous post about the clip books issued in 1955 for more information on Harry Volk Jr. Art Studio.

Coinciding with the silver anniversary, Volk introduced a new logo, featuring rounded sans-serif letterforms. The right arm of V extends to a hand holding a pencil and drawing on the o, turning it into a globe. The Herb Lubalin Study Center points out that this logo was designed by Herb Lubalin – “not his greatest logo, but charming”.

“Vote” (No. 280) ft. Pacella Monitor. The new Volk logo here is framed by tightly spaced caps from Kabel Light.

“Holidays” (No. 281) ft. ITC American Typewriter.

“Homes – Buildings” (No. 282) ft. Bronstein Bold. Like Letraset’s Lazybones, this bold script by FotoStar/Facsimile Fonts is a close follower of PLINC’s West Cooper Nouveau Swash Swash Bold.

“Birthday” (No. 284) ft. Davida.

“Expressions” (No. 285). ft. Bookman Swash Bold Italic with alternates.

“Religion” (No. 286) ft. Pretorian.

“Winter” (No. 287) ft. Norton Chocolate Frosted, a snow-capped variant of S.E. Norton’s series of bold grotesque caps for Photo-Lettering.

“Holidays” (No. 289) ft. Advertisers Gothic.

“Men” (No. 290) ft. Buxom, again by FotoStar/Facsimile Fonts, a copy of Baby Fat, distinguished by less deep notches in M and N.

“Marine” (No. 652) ft. Bobo Bold.

“Summer” (No. 655) ft. Abbey Scroll.

“Old Fashioned” (No. 656) ft. Romantiques No. 5 / Bracelet.

“Crime” (No. 658), with Gill Kayo caps set on a circle.

“Transportation” (No. 659) ft. Dynamo.

“Autumn” (No. 660) ft. Hobo.

“Do-It-Yourself” (No. 661) ft. ITC Ronda.

“Insurance” (No. 662) ft. Microcircus.

“Fall & Winter Sports” (No. 663) ft. Kabel Black.

“Christmas” (No. 664) ft. Tintoretto. The hooked I reveals that this face was not intended for all-caps settings.

“Menu” (No. 665), ft. Bookman Italic in all caps, with an initial swash M.

“Homemaker” (No. 666) ft. Wexford.

“Senior Citizens” (No. 667) ft. caps from Eurostile Light Extended.

“Save!” (No. 669) ft. Mania.

“Executives” (No. 670) ft. Hess Neobold.

“Family” (No. 671) ft. more Benguiat Caslon.

“Crowds” (No. 672) ft. Banco.

“Mail” (No. 673) ft. Buster.

“Circus-Fair” (No. 674) ft. Filmotype Van Horn.

“Spring & Summer Sports” (No. 675) ft. Eurostile Bold Extended in all caps.

“The Little Patriot” (No. G62) ft. Caslon Antique. The logo of the Grafika subseries is in ITC Fat Face with ligatures for ra and fi, accompanied by Kabel Light with omitted tittles.

“Sly Sayings” (No. G63) ft. Paprika.

“Animal Clichés” (No. G64) ft. Thalia.

“Trivia” (No. G65) ft. Advertisers Gothic.

“Villains” (No. G67), ft. a money-grabbing octopus and Bob Quinzel’s Cucumber typeface.

“Printed Forms” (No. G69) ft. Futura Black, ITC Avant Garde Gothic (with alternates), Cooper Black, and Windsor.

“Drop-Ins” (No. G68) ft. Davida complete with its ornaments.

“Time” (No. G70), ft. Optex and Cooper Black.

“Impact!” (No. G71), featuring a version of the triline face designed by Lance Wyman for the 1968 Mexico Olympics, see Mexico Olympic. This is probably Photo-Lettering’s adaptation that went under the name Olympic, or the Lettergraphics version known as Hotline. Note how the type echoes the vibration caused by the jackhammer.

“Cartouches” (No. G72) ft. Arnold Böcklin in all caps.

“Ad Animals” (No. G76) ft. more Thalia.

A rare cover in color, celebrating the United States Bicentennial. “The King-Size Clip Book of Bicentennial Art Volk Corporation” appears to use lettering, or heavily modified type. Several details like the swash caps for G and Z suggest that a version of Cloister (Bold) Italic was involved. Other glyphs don’t match a showing of the Monotype cut, and might come from different sources.

“Wedding” (No. 292) ft. the festive Saphir caps set on a curve.

Covers for various clip books of line art issued by Volk Corp in 1977. This year marked their silver anniversary. The celebration started already in 1976, indicating that the company was established in late 1951. According to Bart Solenthaler, it went out of business sometime in the 1980s.

See the previous post about the clip books issued in 1955 for more information on Harry Volk Jr. Art Studio.

“Holidays” (No. 293) ft. Paprika, a biline variant of Tabasco.

“Entertainment” (No. 295) ft. Tonight.

“Office” (No. 296) ft. Bobo Bold.

“Hobbies” (No. 297) ft. Abbey Scroll.

“Women” (No. 300) ft. Yagi Double.

“Holidays” (No. 301) ft. Koloss with EndcapS.

“Men” (No. 302) ft. Atrax.

“Spring” (No. 303) ft. Jolly Roger.

“The Farm” (No. 678) ft. Arnold Böcklin in all caps.

“Summer” (No. 679) ft. the Sparkly style from the Churchward Design series.

“Children” (No. 680) ft. Eurostile Bold Condensed.

“Medicine” (No. 682) ft. Columna.

“Sales” (No. 683) ft. Whimzitype 3600.

“Groups” (No. 685) ft. Eurostile Bold Extended.

“Christmas” (No. 688) ft. Benguiat Caslon caps with swash alternates.

“Menu” (No. 690) ft. more Saphir.

“Energy” (No. 691) ft. Frankfurter.

“Homemaker” (No. 692) ft. more Benguiat Caslon, here in caps set on a curve.

“Industry” (No. 693) ft. Old Gothic Bold Italic.

“Teens” (No. 695) ft. ITC Uptight Neon.

“Science” (No. 697) ft. Data 70.

“Spring & Summer Sports” (No. 699) ft. Marvin (Face). Illustration by Tom Sawyer.

“Design Devices” (No. G75) ft. Charrette. The decorated A is taken from Cloister Initials. The logo of the Grafika subseries is in ITC Fat Face with ligatures for ra and fi, accompanied by Kabel Light with omitted tittles.

“Pointers” (No. G77) ft. manicules (☛☞) with caps from Windsor Elongated.

“Symbols” (No. G80) ft. caps from Futura Light with a custom SY ligature. The anniversary note in the counter of O is in Helvetica Condensed.

“John Doe” (No. G82) ft. Augustea Open.

“Jane Doe” (No. G83) ft. Keyhole, which was Formatt’s copy of Sintex with added alternates.

“Flying Saucer Attack”. From oopshoops:

Unique single by this rock band from the north of France. Killer instrumental on B side.
1986 French pressing on Fin De Siècle label.

Cover design by El Rotringo, nom de plum of Jean-Jacques Tachdjian. Loose New Roman (designed by Ray Cruz and John N. Schaedler) was available from Letraset, Aldo Novarese’s Estro from Mecanorma.

Back cover

A single by the British comedy band The Barron Knights under a moniker, produced by Larry Page. French pressing on the Penny Farthing label from 1974. The illustration is signed “EDEL*”.

[More info on Discogs]

Loose New Roman in use by a signmaker who understood proper swash placement. This is Greiner’s Marktstraße 1 location.