Poster for the 1970 Czechoslovak release of Se mnou ne madam (original German title: Mit mir nicht, Madam!; English: Not With Me, Madam!), a 1969 DEFA film about mistaken identity, directed by Roland Oehme and Lothar Warneke and filmed in Yugoslavia.

Designer Zdeněk Ziegler somehow got his hands on Or, a multiline typefaces designed by André Chante and released in 1969 by Hollenstein in Paris. Ziegler used it for “MADAM”, in alternating glyph colors. Apparently he didn’t like the original A with the flat top, and made his own form, taking cues from a flipped V.

I don’t know whether the sans-serif inline caps are custom drawn or taken from a typeface. Neither Phosphor, Lux Antieke, or Drescher Grotesk is a match. [Edit: It’s probably a manually drawn interpretation (or a crude poster cut?) of Kristall-Grotesk lichtfett, which was shown in 1966 by Grafotechna as Universal Grotesk světlý. In the specimen, the middle bar in E is longer than the top bar – unlike in this application – but other details are a match, like the high center in M and the flat apexes in N.]

The small print is in reversed Gill Sans.

Back cover

Jeroen Wille has designed the cover for Står op med solen, an album by Danish saxophone player, composer and bandleader Amalie Dahl. Typefaces used on the back cover and the labels are Store Norske Bass, Store Norske Gangster, and Store Norske Geita – all from Skriftkompani. The cover art is by Juliane Schütz.

[More info on Discogs]

Front cover

Portal Thermaculture is a new recreation and fitness center in Boulder, Colorado. They use the solid cut of Store Norske Stilig for their logo, and Libre Franklin as support.

From 80s La Decada De Oro (translated from the Spanish):

Chaz Jankel, also known as Jankel Chas (born 16 April 1952, Stanmore, North London), was a keyboardist for the Blockheads, co-writing with guitarist Ian Dury in the best-known British funk bands of the late 1950s. 70. In the following decade he worked alone, reaping several successes like this “Number One”, which in 1984 was number 1 in France. Jankel returned to The Blockheads after his solo career in America, and collaborated with Dury on his last two albums, until Dury’s death in 2000.

[More info on Discogs]

Snow White Dove is the debut album by Leeds based musician James Shakeshaft and his band. The artwork channels the look of folk and country covers of the 1960s and 1970s featuring a header set in Indigo designed by André Chante (alias Andy Song) and issued by Hollenstein in Paris around 1972, Franklin Gothic and Nimbus Sans.

Photography by Michael Hodges.

Song of Love is an album with soul/jazz songs based on texts from 1 Corinthians 13, known in German as Hohelied der Liebe. The lyrics were written by Roman Catholic priest Wilhelm Willms (1930–2002), with several of the titles composed by Peter Janssens (1934–1998), co-founder of the Sacropop branch within the genre of Neues Geistliches Lied (NGL).

What Is Wrong With Grooving comments:

Deutscher SOUL. Weird stuff. Xian music by Peter Janssens and vocals by Jutta Hahn and Marc Anthony.

The cover design pairs photography by Ari Van Sandvoort with two rainbow-themed display gems: the all-caps Indigo and the all-lowercase Arc en ciel were both designed by André Chante (alias Andy Song) and issued by Hollenstein in Paris around 1972.

[More info on Discogs]

A multi-colored use of Indigo for Horizonte (“Horizons”), the 57th exhibition organized by B·A·T (British American Tobacco) in partnership with the Caspar David Friedrich show at Hamburger Kunsthalle, shown from 3 October to 23 November 1974 at the B·A·T-Haus on Hamburg’s Esplanade. The smaller text is set in center-aligned Futura Light.

Front cover (German release on Bacillus Records, a sublabel of Bellaphon)

Hard Times, Good Times is the fourth – and final – album by Zoo, a French prog rock band that was active between 1969 and 1972. It became their most successful LP release.

Their self-titled debut album as well as several early single releases featured a band logo with bold condensed letterforms of pronounced horizontal contrast, with circular counters in the O’s. This piece of lettering provided the inspiration to Zoo, a typeface designed by Quentin Coulombier in 2019. In 1972, after numerous changes to the personnel, the band didn’t use that logo anymore: the cover shown here is graced by Indigo, a typeface for good times (and just what I need on a dark December day), designed by André Chante and issued shortly before by Studio Hollenstein, Paris.

The album art was created by Nicole Claveloux and Bernard Bonhomme. While the album title is set in caps from ITC Avant Garde Gothic, the track list and credits on the back are in Futura.

[More info on Discogs]

Detail

Back cover

2014 reissue on O-Music, Germany

A tricolore Indigo on the cover for “Slag Solution”, the only release credited to europop act Gemello Twins, issued in 1973 in French label Credit Music. The Baby Teeth-like face came in six variants with different pattern fills. It was designed around 1972 by Andy Song alias André Chante for Hollenstein, Paris. On this 7″ sleeve, it’s paired with caps from Flyer. Printed by Graphicolor, Nanterre.

Via Buro Destruct’s Fonts from the flea market series.

[More info on Discogs]

Les Variations were an influential French rock group that sung in English. They made multiple TV appearances in the United States and abroad. This single features Indigo’s Magic variant.

A poster typeface catalog from phototype supplier Hollenstein featuring a center graphic with Indigo Regular, Magic, Flower, and Kitsch. Read more about Indigo in this Use: Novum Gebrauchsgraphik, no. 6, 1972.

Source: www.logoarchive.shop Logo Archive. License: All Rights Reserved.

Indigo was drawn by André Chante (alias Andy Song) for Hollenstein Phototypo, Paris. This cover for German graphic design magazine Novum was designed by Chante himself.

The top line shows Indigo with a rainbow fill, as also seen on a German pharmacy sign. The cover of Hollenstein’s specimen Fantaisies Exclusivités (1972) features more variants with different fill patterns, including the open/outlined Indigo Éclairé — and also the floral and starry patterns used here in lines 2 and 4. The clouds in the bottom line pop up again on a record cover from 1975. Makes me wonder whether the cartoon characters from line 3 really were included in the retail version of this decorated typeface series as well!

The cover of this live album by Brazilian musician Jorge Ben Jor uses Indigo. Here its solid shapes are not filled with rainbows, but rather with multicolored clouds. This cloud pattern already made another appearance on a magazine cover three years earlier, which suggests that it was available off-the-shelf from Hollenstein Phototypo.

P.S.: This style is named Indigo Nuages (“clouds”).

[More info on Discogs]

Quite a funky sign for a pharmacy in Öhringen, Germany.

I had a feeling that these counterless letters filled with rainbow patterns might be typographic, i.e. prefabricated, as opposed to custom drawn (note to self: when in doubt, it is always a font). I couldn’t quite put my finger on it, though.

Luckily, Flickr user jch02140 identified the typeface as Hollenstein’s Indigo, a rather obscure design from the phototype era. They also pointed out the similarity to Rainbow Bass by Saul Bass.