Manga handout for Sahjan Kooner’s exhibition at Kunsthal Gent, titled dankEconogy1_­ALIENVillage, shown by Eastside Projects in 2023. The handout was designed by Ossian Osborne based on a design by Harry and Robin at An Endless Supply, using Neureal by Laura Csocsán. “SAKO” on the cover uses a deconstructed Beans by Dieter Zembsch.

Sahjan Kooner is an amalgamation of inherited worlds and speculative futures. Using video and installation, they create expansive worlds that explore the traces of love, hope and imagination that make our lives possible, along with examining a debris of questions around the technological, social, and racialised structures that augment life. They live and work in Wolverhampton.

Sahjan has been working with Eastside Projects as an Incidental Artist across the last 18 months developing this multi-stranded project through workshops and collaborations with artists, their mom, technologists, bioscientists, school children, communities with Punjabi heritage, ceramicists and Eastside Projects.

Spanish sleeve for “Come Get to This”, the second single from Marvin Gaye’s 1973 album Let’s Get It On, witrh a detail from the photograph by Jim Britt that was used for the LP.

The artist’s name is in Beans. The round-top A is not included in Dieter Zembsch’s typeface. Beans comes with two forms for this letter. Both asymmetrical and not exactly easy to read, they are not to everyone’s taste, though. The custom A’s were apparently made from upside-down U’s. Beans is paired with another bold and rounded Letraset face, Bob Newman’s Frankfurter.

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2017 re-release.

Originally released by Hasbunalau Records and re-released by Analog Africa in 2017, Ahehehinnou Vincent Vol. 1 was the first solo record by Vincent Ahehehinnou after leaving the successful Orchestre Poly-Rythmo de Cotonou in 1977. A second volume was never released. From Analog Africa:

In early 1978, Vincent Ahehehinnou left the Orchestre Poly-Rythmo de Cotonou without explanation. He had been one of their principal vocalist since 1968 and had helped transform them from a hard-charging nightclub band into a musical powerhouse and Africa-wide sensation. By the end of 1977, after an explosive performance at the pan-African arts and culture festival (Festac77) in Lagos, the band had reached the very pinnacle of their success.

For the biggest part, the album art of the re-release is a replica of the original, with exception of Ahehehinnou’s name. Instead of using the caps of Tintoretto, designer Kathrin Remest shows his name set in (a scan of?) Hawthorn, with the N and T connected. Complementary typefaces are Beans and Zipper. “Vol. 1” is in Premier Shaded [see comments], one of the few shaded typefaces with its shadow leaning left. The tracklisting and the caption on the cover photo use yet unidentified type.

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Original artwork. The capitals of Tintoretto may evoke associations with mediaeval times of Gaelic music rather than Nigerian highlife music, but they sure look funky in this setting. Note an additional word space in the artist name.

Typographie: Schrift und Graphik mit Letraset was an exhibition that ran in Darmstadt, München, and Zürich in 1978–79. This 8×8-inch 72-page catalog was designed by Christof Gassner and features his own work along with dozens of other designers who used Letraset.

Design: Christof Gassner

Design: Helmut Langer

Design: Christof Gassner. Promotional material for Deutsche Letraset. The last image was used for the cover of LetraTime.

Design: Friedrich Friedl

Design: Christof Gassner. German translation of a quote by Henri Michaux: “Qui s’est abaissé devant une fourmi, n’a plus à s’abaisser devant un lion.” – “Those who have bowed to an ant do not have to bow down before a lion.”

Design: Christof Gassner. German titles of various plays by Shakespeare: A Midsummer Night’s Dream, Much Ado About _, King Lear, Richard III. For more, see Schauspiel im ZDF.

Design: Christof Gassner. Various film titles: Le Quai des brumes (Port of Shadows), The Third Man, Daddy Long Legs, Scarface

Cover of the seminal roots reggae album by The Congos, produced by Lee "Scratch" Perry in his famed Black Ark studio in 1977. It is considered as one of Lee Perry's masterpiece productions. The design includes a rare use of Beans typeface which was released a few years earlier by Letraset.

[More info on Discogs]

Vinyl cover of the 40th Anniversary Edition (VP, 2017).

CD cover of the 40th Anniversary Edition (VP, 2017).

Casa Pape is a ship chandler in Vigo, Spain, founded in 1946 by Don Jose Maria Perez Rodriguez, the owner of a small grocery store who soon realized that merchant ships needed large amounts of food and drinks to stock during long voyages between ports.

Their logo is in Beans (thanks to Stewf for the identification).

See a complete showing of Beans in this previous post.

Racer Car by FPU

Two FPU album covers from 2002 (Racer Car above) and 2003 (Traxxdata below), designed by Pawel K for Tiga of Turbo Recordings, using Beans. Interestingly these designs came out a few years before Beans was revived by Charles Grant and released by Lineto.

Traxxdata by FPU

Traxxdata CD artwork

Did Letraset sponsor a contest any other year besides 1973?

The numbers on the cover are from Tonal, by Christopher K. Lee. Very hard to get those Benday dots in the background to line up perfectly with transfer lettering …

Bombere, the top choice of the judges, is based on Grotesque No. 9. Second-prize-winner Magnificat is by Friedrich Peter, who also did Vivaldi.

Of all the faces shown here, I think I’ve only seen Shatter and Le Griffe used. I’ll look through FIU to see if any of the others are represented. See also my follow-up with a complete list of all twenty winners.

Zuchowa zabawa w teatr (“Cubs playing theater”)

A series of activity booklets published by Młodzieżowa Agencja Wydawnicza in 1984/1985. The display typefaces are Beans and the solid style of Blanchard.

Śpiewnik zastępu (“Patrol song book”)

Gry i zabawy w harcerskiej izbie (“Fun & games in the scouts room”)