Cover of a Mexican single record by Tommy Boyce & Bobby Hart released by the local label Discos Tizzy under license by A&M Records back in 1969.

[More info on Discogs]

Cover for the Desliga O Mundo album by the Brazilian funk band Painel De Controle (“Control Panel”), designed by Ney Tavora in 1978. The cover prominently uses the Ginger Snap typeface, popular with the album cover designers of the 1970s.

Nice use of the Ben Day dot gradient inside the band’s name.

[More info on Discogs]

Fonts from the Flea Market 1367

Mierop Ginger Snap in early use for a compilation album by jazz saxophonist Charlie Barnet (1913–1991), released in 1969 by RCA Victor in their Vintage Series. The songs were recorded between February 24, 1939, and August 14, 1941, for Bluebird. The C appears to be an alternate or a modification.

[More info on Discogs]

When Photo-Lettering added Craig Mierop’s Ginger Snap to their library in 1969, it was an instant hit: this best-of compilation by Eric Burdon & The Animals is already the seventh in-use example from the year of its release documented on Fonts In Use.

Art director David Krieger specified the shaded C style, with the open letter bodies filled in red. The back of the sleeve feature a reversed black-and-white setting.

[More info on Discogs]

1970

Two ads by the Aluminum Company of America, or Alcoa for short, highlighting the versatility and ubiquity of their product. The one from 1970 combines illustration with bichromatic Mierop Ginger Snap C. The squarish M is either an alternate or a modification. The follow-up from 1971 relies on photos and Palisade Graphic. In both ads, the copy is set in Helvetica.

1971

Front cover featuring red Mierop Ginger Snap on an angle

Sex Machine is a 1970 double album from James Brown, backed by the original J.B.’s featuring brothers “Bootsy” (bass) and “Catfish” (guitar) Collins. It was released on King Records (Cincinnati) and later Polydor Records.

[More info at Discogs]

Back cover with the (not fully accurate) claim “Recorded live…” in all-caps Helvetica. The track list is set in all-lowercase Univers Bold Condensed, arranged in staircase lines. “James Brown” is in Neil Bold with a raised j.

Source: www.ebay.com byfrm_me (edited). License: All Rights Reserved.

Paul Anka is a Canadian singer, active since 1955, whose biggest hits include “Put Your Head on My Shoulder”, “Lonely Boy”, and “(You’re) Having My Baby”. He later would pen English lyrics to the music of a French-language song “Comme d’habitude”, and release it as “My Way”, later a major hit after being recorded by Frank Sinatra (1969) and Elvis Presley (1977).

The singer's name is presented in Mierop Ginger Snap, specifically Ginger Snap C, designed by Craig Mierop in c.1969 for PLINC. Modifications include the shifted middle of the U to the far left and the K that looks as though it may have been constructed from an N (see how differently proportioned the actual K is here). Despite recoloring the text, the counters of the P’s and A’s were left black, and the 3D shadow that should be left by the diagonal cut in the top of K is absent. This also appears on the back cover, albeit in grayscale.

Below this is an overly-swashed, oddly-colored album title set in an unknown rendition of Bookman, of which the only character left without ornament is the a, leading to an odd amount of spacing between the two words.

The song titles and legal information on the back cover look to be set in two weights of Linotype's Times.

This 1974 compilation album had similar cover artwork in every country it was released in, save for the United Kingdom and Germany. The UK release used outlined red-and-blue Granby Elephant over a picture of Paul sitting on railroad tracks, and the German release, oddly enough, used a picture of a copy of the US release sitting on a table, beside a photo of Paul in a frame, jewelery, an ashtray, and a glass of liquor, among other affects, with titles set in University Roman.

[More info on Discogs]

Source: www.ebay.com byfrm_me (edited). License: All Rights Reserved.

Source: www.discogs.com License: All Rights Reserved.

Front cover of a Mexican release

Source: www.discogs.com License: All Rights Reserved.

Back cover of a Mexican release

The Man in the Cannibal Pot is a second cartoon collection book by American author, cartoonist and illustrator Gahan Wilson (1930-2019), originally published in 1967 by Doubleday in New York. This is a version published in 1970 by Avon Books, currently an imprint of HarperCollins Publishers.

Above this illustration is Ginger Snap circa 1969, designed by Craig Mierop for Photo-Lettering, in which the reversed style is used for this chromatic title.

A glorious hand-rendered version of Craig Mierop’s Ginger Snap C (C = with open letterforms and solid shadow) on the cover of the High School Drug Survey. Edited by W.S. Ferguson and W.L. Howard, this booklet was published by the Virginia Highway Research Council in July 1971. Not sure if the outlined caps for “High School” were patterned after a specific typeface, or freely drawn. The black text is set in Futura. The logo of the Highway Safety Division of Virginia uses all-lowercase Helvetica Italic.

Via Rachel Cole, librarian at Northwestern University’s Transportation Library.

Wonderful use of Magnetic Ink in an abbreviated gradient on the front cover. It took a while to track down this font as there are several very similar variations. My first thought was Amelia, but the small squares that appear beneath the N and M led me to Computer. Magnetic Ink is Photo-Lettering’s adaptation of this typeface originally designed by James H. Moore for VGC. One of the details that distinguishes the Photo-Lettering version is the flipped V. Below this are some variations of a 3D Ginger Snap. These uses are repeated on the back, but the inner sleeve contains a nice yellow shaded detail to the Discovery font.

The author line is set in Futura and the credits on the back cover are in Monticello. This compilation of essays by science fiction writers was edited by Tom Purdom and published by Doubleday in 1969. Jacket design by Rose Sommerschield.

[More info on ISFDB]

Cover art for the seventh album by Tim Maia (1942–1998), released in 1976 by Polydor and distributed by Phonogram. Tim Maia was one of the greatest Brazilian voices, contributing to introducing soul and funk to Brazilian music. Most of his albums are self-titled, that’s why this one is also known as Rodésia, after the included hit single of the same name.

[More info on Discogs]

In 1968, Tina Lutz (better known under her married name, Tina Chow) became the face of Shiseido. This TV commercial by the Japanese cosmetics brand from 1970 includes a card saying “Love in Color” set in Craig Mierop’s Ginger Snap. The zeitgeisty face is shown with drop shadow, in two shades of green. The typeface used for the Japanese text at the end of the clip is unidentified.

Via nippon.tv. Hat tip to JWM!

Mierop Ginger Snap C (Photo-Lettering, 1969) in early use for the cover of a sampler of rock music by ATCO Records, featuring songs by the (no longer Young) Rascals, Bee Gees, Cream, Buffalo Springfield, Vanilla Fudge, and Iron Butterfly.

Contact Bold Condensed is used for the titles – which are interpreted by means of illustration, in an eclectic mix of styles, including all kinds of references ranging from the biblical forbidden fruit to Magritte and the Liberty Bell. The band names are set in all-caps Neue Aurora IX. Loring Eutemey, the cover designer, often dug into new additions from Photo-Lettering’s library of display typefaces.

[More info on Discogs]

Cover.

Teen Cuisine, A Beginner’s Guide to French Cooking, published in 1969 and designed by Peter Max. The cookbook by Abby Gail Kirsch and Sandra Bangilsdorf Klein features menu suggestions and simplified recipes for preparing soups, meats, vegetables, and desserts in the French manner. It also includes a glossary of cooking terms and describes special utensils and techniques.

The pages feature intensely vibrating color combinations and gradient-on-gradient text, as well as Art Nouveau inspired 1960s illustrations of seemingly recipe unrelated subjects.

Title page.

A bicolor use of Mierop Ginger Snap on the cover of Sausalito Heliport. Recorded with her backing band, the Gentle Reign, and released in 1969, it’s the final album by Gale Garnett (b. 1942) who later devoted herself to writing and acting.

The cover design by Lloyd Ziff superimposes a photo of the Golden Gate Bridge by Bruce Steinberg with a band portrait taken at Sausalito Heliport. Ginger Snap is used in its shaded style; once with red letterforms and a yellow shade, and once with reversed colors for the title. Craig Mierop’s typeface had been released just earlier that year, and also appeared on the cover of the Greatest Hits album by Californian band Country Joe & The Fish. In this use, the geometric display face with its slot and drill hole counters appears at a size that is maybe a tad too small to really shine.

[More info on Discogs]

The back cover typography is set in no-nonsense Akzidenz-Grotesk.

Detail of the title typography

Photo: Giovanna Cianelli. License: All Rights Reserved.

Open cover.

Book jacket for Laranja Mecânica, a new edition of the classic novel by Anthony Burgess, translated to Portuguese by Fábio Fernandes and issued by Brazilian publisher Aleph in 2019.

Iconically adapted by Stanley Kubrick, A Clockwork Orange is an icon of pop culture. Giving it a new look without losing all of its significant symbols that tell the story was a significant challenge. The 1968 novel still pulsates with boldness, courage, and devastating violence. It prompts readers to consider many issues of today’s society. I wanted to create a cover that could transport people into that universe. Perhaps you already watched the movie or had a Clockwork T-shirt or even read the book, but I wanted to present a new language that is fresh – but still very recognizable.

Photo: Giovanna Cianelli. License: All Rights Reserved.

When I first saw Ginger Snap, I was in love and thought that it perfectly matched the feeling that I wanted to transmit. Unfortunately, I only found a low-resolution image of a Photo-Lettering specimen. I had to draw all the letters based on other applications (mostly record covers).

For this project, my main influence was Heinz Edelmann, a German art director and illustrator, and his animation style. I aimed to conceptualize this cover as an animated timeline that could gather the main elements from A Clockwork Orange's universe. The front illustration is a mix of metaphorical elements: Alex violently suffering Ludovico’s treatment, while his old droogie comrades are walking away from him; the knives (representing Alex's previous violence against society), and the snake (Alex’s pet and symbolizing the betrayal of his friends).

On the back, even with the Nadsat phrase “Viddy well, little brother, viddy well” I chose to illustrate the police. It represents two things: the future careers of the droogies and the state violence. To reinforce that, the police are depicted walking towards the droogies (and vice versa). It can be understood as a future/past relationship or an imminent conflict.

Photo: Giovanna Cianelli. License: All Rights Reserved.

Ginger Snap in use for spreads that separate the chapters.

On the inside pages, I conceptually explored ’60s pop art’s repetition, patterns, and big rounded lettering contrasting with Burgess’s rough doodles from the original draft. I also created a collage composed of old Brazilian newspapers announcing that A Clockwork Orange – both the movie and book – would be censored in Brazil by the military dictatorship. I layered the inside pages with a slew of ultra-violent text.

Photo: Giovanna Cianelli. License: All Rights Reserved.

Sketches by Anthony Burgess are paired with Ginger Snap.

Photo: Giovanna Cianelli. License: All Rights Reserved.

Hand-made lettering.

Brazil is experiencing an ominous time. Our president, Jair Bolsonaro, a former army captain, does not support democratic leadership, or diverse culture. It is deeply concerning, and many art-related cultures are under attack. Expositions are censored, journalists lives are threatened, police violence against citizens is on the rise, there are major cuts in the education and research spending, and the Amazon rain forest is burning to the ground. Most of the time, we feel hopeless. This reminds us of our own recent pasts: the military dictatorship, the extreme state violence and censorship.

This project won Gold at Latin American Design Awards in 2019.

Photo: Giovanna Cianelli. License: All Rights Reserved.

Collage of old Brazilian newspaper clippings announcing that A Clockwork Orange would be censored in Brazil by the military dictatorship in the 70s. The word “Ultravioléncia” from one of the headlines (set in caps from Egyptienne Bold Condensed or similar) is repeated multiple times.

Source: www.flickr.com Steve. License: All Rights Reserved.

1967 printing (73-662), with Pacella Decatur for the title. The secondary typefaces are Venus and News Gothic.

The Carnelian Cube is a fantasy novel by L. Sprague de Camp and Fletcher Pratt. First published in hardcover by Gnome Press in 1948, this is the paperback edition by Lancer Books. Their first printing from 1967 combined cover art by Frank Kelly Freas with a title set in caps from Vincent Pacella’s Decatur. Two years later, Lancer Books changed the typography and switched to another face by Photo-Lettering: Craig Mierop’s Ginger Snap, which had been added to their catalog shortly before. More specifically, it’s the “C” variant with open letterforms – here filled in green, yellow, and red – and a long shade.

Source: www.biblio.com License: All Rights Reserved.

1969 printing (74676-075) with Mierop Ginger Snap (and Helvetica or similar).

1971 LP by Canadian jazz-rock-fusion band Lighthouse which spawned an immensely popular single from its title track which hit No. 1 in Canada, No. 13 in the Netherlands, and No. 24 in the States. Originally released by GRT Records, the images show the US version by Evolution Records.

The psychedelic artwork is by Brad Johannsen. The band name is shown in bichromatic Mierop Ginger Snap (Photo-Lettering, 1969). The album title uses an unidentified geometric sans with Art Deco vibes. Chances are it’s Benguiat Herculoid. Free Zone is a match, but this font was released only in 2001. Designer Joffre LeFevre didn’t mention the source of his revival.

The back cover is set in News Gothic or similar.

Oh Jerome, No is a TV mini-series written by Alex Karpovsky & Teddy Blanks, with music by Natalie Prass, starring Mamoudou Athie. For an airing of the complete first season on FXX, Teddy Blanks made an announcement graphic featuring Ginger Snap. This typeface was designed by Craig Mierop for Photo-Lettering, Inc. in 1969. Since there is no digital version available, Blanks simply traced the letters from a variety of reference materials, some of which he found on Fonts In Use.

This 32-page full color recipe booklet was published by the National Kraut Packers Association of St. Charles, Illinois in ca. 1975. The typeface used for the cover and the headings is Mierop Ginger Snap C, designed by Craig Mierop for Photo-Lettering, Inc.

Recipes include: Reuben Sandwiches, Half Nelson Heron, Jolly German Triple Deckers, Turned On Chops ’n Kraut with baked Apple Bonus, Stout Hearted Kraut & Frankfurters, Cabbage & Kings Stew, Rah Rah Round Dogs, Red Letter Pheasant with Kraut, Roast Duck & Kraut, Ridge Runner Quail & Kraut casserole, Kraut Conquers All … Chocolate Cake, The Power of Pizza, I Scream You Scream for Lemony Kraut Ice Cream, and many more. — gatorgirl622

Heroes & Krautwiches

Kraut, Pork & Apples

Kraut & Wursts

Super Kraut. On the left: Some hand-rendered Ginger Snap.

Kraut Kraut Kraut Kraut