Main title card

The main and end titles of Wild at Heart, designed by Pacific Title, use News Gothic No. 2 Black Italic, giving it a speedy and intense feel. This style would be reused for Lynch’s Twin Peaks: Fire Walk with Me two years later.

The location card is set in all-caps Caslon 3.

“A film by David Lynch” credit

Anna Monika Jost (b. 1944) is one of the many Swiss-born graphic designers who went to work in Milan during the 1950s and 1960s – this is a story that has been largely documented (notably at Zurich’s Museum für Gestaltung) and spawned a remarkable body of work by Jost and her colleagues Lora Lamm, Max Huber, Bruno Monguzzi, Walter Ballmer, etc.

Working for Italian brands such as Fiat and Olivetti, Jost found the right balance between Swiss constructive rigour, informed by Konkrete Kunst, and Italian playfulness in this 1966 poster for a travelling exhibition of Olivetti’s products. The typefaces used here are Helvetica (obviously) and, quite unexpectedly, News Gothic (for the isolated letters and numbers inside the round dots).

Jost was, alongside Bruno Monguzzi and Batia Suter, a recipient of the Swiss Grand Award for Design in 2025.

Front cover, featuring Allegro (import revision; Ludwig & Mayer, 1936) for Berry’s name and the album title. “With” set in News Gothic (regular; ATF, 1908) or a follower. Catalog number (bold) and “Hi—Fidelity¬ (regular) set in Spartan (Linotype) or similar.

Still of Berry with his guitar taken from his performance in the independent film Rock, Rock, Rock! (1956).

After School Session is rockman Chuck Berry’s debut LP on Chess Records, the label’s second after the compilation/soundtrack album for the film Rock, Rock, Rock! (which Berry and two other Chess acts appeared in, resulting in a still from the movie being used on the cover). The album contained three previous hit singles, with “School Days” topping the Billboard R&B Best Sellers chart – after battling Elvis Presley’s “All Shook Up” in the Jockeys and Juke Box charts for three weeks – and reaching #3 on the Hot 100.

Though uncredited, the cover was presumably designed by Don Bronstein, Chess’ in-house art director from around 1955 to his death in 1968.

Back cover featuring artist and album name in Tempo Heavy (Ludlow, 1931). Smaller text including the track listing (bold with writer credits in regular), liner notes (regular), address (bold) and catalog number and “HIGH FIDELITY” (bold) all seem to be set in Spartan, a follower of Futura distinguished by the two-story a.

Front cover, featuring Short's name and the title set in Serendipity (condensed). Author tagline set in Volta (halbfett; Bauer, 1956); “Formerly” tagline set in News Gothic (regular; ATF, 1908). “A Fawcett Gold Medal Book” presumably set in Grotesque #9 (italic; Stephenson Blake, 1949).

Photo-Lettering's Benguiat Serendipity (1965) in rare use – rare compared to its fruitier, more ornamented brethren – on the fourth(?) edition cover of Barren Land Showdown (Fawcett Book #R2177, first published in 1951; originally titled Barren Land Murders) by American western author Luke Short, who might have taken his pen name from the Old West gunfighter.

From the back cover:

A hard-hitting story of the Northwest, where the chill winds couldn't cool hot tempers—where the whole Territory wasn't big enough to hold two men...

The book is set in the Northwest Territories, meaning not Colorado; even so, it still gets by as a western.

Erotica 74 is an adult book by Lawrence Mosley, published in 1974 by Bee-Line Books.

The title uses Green Buzzard B. The tagline and author’s name use Gill Sans Extra Bold. The publisher name, serial number and price use News Gothic.

Here's another example of a font in use on a Percy Faith cover, as well as another example of a curly font. This time around the font is Photo-Lettering's Messick Exotic Bold (coupled with News Gothic). The album is a movie-music-themed compilation that was released exclusively through the Columbia Record Club.

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Detail from back cover

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Wanted: Dennis the Menace. The other fonts are Antique Tuscan Condensed and Akzidenz-Grotesk Bold.

Hank Ketcham’s Dennis the Menace made its debut as a daily syndicated newspaper comic strip on March 12, 1951. It has subsequently been published in comic book form by various publishers, including Standard/Pines (1953–58), Fawcett Comics (1958–80, and Marvel Comics (1981–82).

Shown here are covers for the mass market paperback collections by Fawcett Crest, published in their Crest Book and Fawcett Gold Medal imprints. The main title is set in Filmotype Accent. Volume titles and secondary text use a variety of typefaces. More often than not, the former is added in the form of hand-lettering.

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In This Corner… Small text is in Venus Extended.

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Make-Believe Angel. The volume title appears to be lettering. At the very bottom, News Gothic Bold.

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Rides Again. Accent is here used for the whole tite and for the author’s name.

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…Teacher’s Threat

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Household Hurricane

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…Who Me?

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Ambassador of Mischief, featuring all-caps Dom.

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Everybody’s Little Helper, again with Dom

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Dennis the Menace and Poor Ol’ Mr. Wilson

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Surprise Package

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Short ’n Snappy

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Dennis the Menace and his Girls

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Perpetual Motion

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…Here Comes Trouble

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All-American Kid

Kind of Blue is Miles Davis’ sixth album for Columbia Records, released in 1959.

The light grotesque seen here for the name of the artist and the album title is Dom Grotesk Condensed 3 – the former in all caps and the latter with enlarged caps. No designer is credited. The photography is by Jay Maisel.

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For the stereo release, the whole design was moved down.

First edition (hardcover) by Bartholomew House, 1967, illustrated by Bill Wenzell. The illustrations on the front of jacket are by Roy E. LaGrone. Secondary typefaces include Craw Clarendon Condensed, Filmotype Harmony (or Photo-Lettering’s copy, Almadine Script), and Century Expanded Italic.

Coffee Tea or Me? was advertised as “the uninhibited memoirs of two airline stewardesses”, and credited to Trudy Baker and Rachel Jones. In fact, it was ghost-written by Donald Bain. The 1967 hardcover dust jacket features Caruso Roxy, set in all caps. The same typeface was also used for the paperback cover, now bigger and in mixed case, as well as for the three sequels published until 1975. In 1973, the book was made into a film.

Caruso Roxy is a typeface that we’ve come to associate with the swinging 60s.

Coffee Tea or Me? The uninhibited memoirs of two airline stewardesses. First Bantam edition (paperback), November 1968 with cover art by Bill Wenzel and small text in all-caps News Gothic.

The Coffee Tea or Me Girls’ ’Round the World Diary. First edition (hardcover) by Grosset & Dunlap, 1970. The multilingual toasts are stereotypically added in more or less fitting typefaces: Peignot (French), Post-Antiqua (Hebrew), Cloister Black (German), Centaur (Spanish), Akzidenz-Grotesk Extended (Scandinavian), Jessen-Schrift (Greek), Americana (English), Mandarin (Japanese), and Century Schoolbook (Italian).

Jacket and cover with spine lettering

The Coffee Tea or Me Girls’ ’Round the World Diary. Paperback edition by Bantam Books, April 1971, with small type in Alternate Gothic.

The Coffee Tea Or Me Girls: Lay it On The Line, Bantam Books, 1973. The fat years are over: the main typeface now is Caruso Roxy’s light weight. Secondary text is in italic caps from Caledonia.

The Coffee Tea Or Me Girls Get Away From It All, Bantam Books, 1975, with Helvetica used for the text in red.

A rare sighting of Theodore Fantasia, for a book by “ghost hunter” Hans Holzer. Drawn by John Theodore, the italic all-caps typeface is a formidable choice for the topic: don’t the amorphous white letters look a lot like a bunch of kids haunting and hooting coltishly underneath bedsheets? Especially the E seems to have a lot of fun, whereas C looks unwell and wobbly, having overdosed on the Halloween candy.

First published in hardback by Hawthorn Books in 1968, this is the cover of the paperback edition by Popular Library.

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News Gothic and Caruso Roxy for the album release of Sweet Charity, a musical comedy starring Gwen Verdon (1925–2000), by Columbia Masterworks.

No designer credited. The photograph is by Friedman-Abeles and was also used on the poster for the stage production at Detroit’s Fisher Theatre.

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Songs in Spanish for Children is a 1962 vinyl record released by Columbia Records. With Martita, Jesus De Jerez, and Juan Rojas as the singers, it’s comprised of various Spanish songs.

The main star of the show is Caruso Roxy, used entirely in lowercase, but with several alternate glyphs in their swashy glory. This typeface’s release coincides with the album’s.

The cover illustration is by John Peterson. No designer is credited.

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From Wikipedia:

Turning On is a collection of thirteen science fiction short stories by American writer Damon Knight. The stories were originally published between 1951 and 1965 in Galaxy, Analog and other science fiction magazines.

This is the first paperback edition, published as Ace G-677 in 1966, with cover art by Jack Gaughan and obliqued Caruso Roxy for the type.

While the blurb on the front cover uses two widths of News Gothic, the spine lettering is in it bolder sibling, Franklin Gothic.

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Front cover, Decca version

Paris for Lovers is an album by French accordionist Maurice Larcange (1929–2007), released in the Phase 4 Stereo series by London Records in the United States and by Decca Records in the United Kingdom. For the cover, New York-based studio Farmlett, Barsanti & Associates filled the big numeral 4 with a smorgasbord of local stereotypes; from the tricolore and a pastiche of Toulouse-Lautrec’s Jane Avril poster to a bottle of Dubonnet and the inevitable Eiffel Tower.

Judging from details like the short and narrow i and the v with ascending swash, the title typeface is Photo-Lettering’s Caruso Roxy (1962) – and not its close follower Holiday: in the Lettergraphics face, the i is taller and wider and there’s no alternate form for v, see this glyph set.

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Front cover, London Records version

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Back cover, London Records version

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Cassette version, 1973

Good Taste Is Timeless is the fifth studio album by the Holy Modal Rounders, a psychedelic folk band formed in 1963 on Manhattan’s Lower East Side. It was released in 1971, three years after The Moray Eels Eat The Holy Modal Rounders. The cover art is by Michael Hurley (1941–2025) who also collaborated with the band musically, and wrote the sixth track on the album, “Love Is the Closest Thing”. The band name is in caps from Caruso Roxy Light.

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Filmotype Mason is used for the song names on the back cover. The liner photo is by Robert Comerford.

I Am Somebody is the title of a spoken word album by Reverend Jesse Jackson that was released on Respect, a sublabel of Stax Records. It contains a recital of the poem “I Am – Somebody”. The cover typography by David Krieger of The Graffiteria features Folio in its mager and fett weights.

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Jackson became active in civil rights protests already as a student. In 1960, he was one of the Greenville Eight, a group of African American students that successfully protested the segregated library system in Greenville, South Carolina. Since 1966, he was involved in the Operation Breadbasket movement, a department of the Southern Christian Leadership Conference (SCLC).

The album came out in 1971, three years after Martin Luther King Jr. – the SCLC’s first president and a close friend and mentor of Jackson – was assassinated. The same year, the “Country Preacher” broke off from SCLC and formed Operation PUSH (People United to Save Humanity). In 1996, it merged with the National Rainbow Coalition, another organization founded by Jackson to pursue social justice, civil rights, and political activism, into Rainbow/PUSH. He served as the organization’s head until July 16, 2023.

Jesse Jackson died February 17, 2026, at the age of 84. The New York Times commemorates him as “charismatic champion of civil rights”. RIP.

The quotes on the back cover are set in Helvetica.

The gatefold shows photographs of Jackson together with several of his companions and fellow campaigners, including Martin Luther King Jr., his widow Coretta Scott King, as well as Richard G. Hatcher and Carl Stokes, the first elected African-American mayors of Gary, Indiana, and Cleveland, Ohio, respectively. The liner notes by Rev. G.E. Redic are set in Helvetica, and the credits at the top right in News Gothic.

Door to Door Orgy! is an adult novel by Cliff Jones, published in 1974 by Bee-Line Books.

Calypso is used for both the title and the author’s name. The tagline uses Helvetica. The text in the corner is in News Gothic.

Started as a short story in 1963, None But Man was first published in book form in 1969. This is DAW’s 1977 paperback edition of the science fiction novel by Gordon R. Dickson (1923–2001), with cover art by Don Maitz (b. 1953) and typography in stacked and justified caps from Syncopation, one of the neo-Art Deco sans serifs that cropped up by the early 1970s.

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These tales of supernatural terror by French author Guy de Maupassant (1850–1893), master of the short story, were selected and translated by Arnold Kellett, and published by Pan Books in 1972. The cover art is by Josh Kirby, depicting the protagonist of the first story, La Main d’écorché (The Hand). The suffocatingly narrow typeface to go with it is Rubens. Its diagonal terminals nicely echo the fingernails.

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Percy Faith’s I’ll Take Romance is a 1969 easy-listening compilation album released on the Harmony Records label. The title and artist name are in Davison Spencerian with the song list in News Gothic. The cover photo was taken by Walter Swarthout.

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