The Chuck Wagon Gang’s album Rejoice was released in May 1969 on Harmony Records. It is a gospel/sacred music album, as evidenced by the inclusion of the track “I’m Rejoicing”. On the cover, Baby Fat is used for the title while the band name above and the song list below are set in Lining Gothic. Cover photography by Ira Friedlander, who may have worked on the typography as well.

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From Wikipedia:

Our Mother the Mountain is the second studio album by country singer/songwriter Townes Van Zandt, released in 1969. It is considered to be one of his greatest recordings and features some of his best known works, including “Be Here To Love Me”, “Snake Mountain Blues” and “Our Mother The Mountain”. […] The artwork for Our Mother the Mountain was designed by Milton Glaser and the album cover features an arresting shot of Van Zandt taken by Allen Vogel.

The heavy geometric sans used for the title looks a lot like Futura Extra Bold (Intertype, 1952). In fact, it’s the earlier Airport Black, issued by Baltotype c.1943. Differences include the smaller counters (see for example the O), the lower crossbar in A, and the lighter middle bar in E, see this 1959 specimen. Photo-Lettering carried an adaptation of Airport Black for phototypesetting.

For the logo of Poppy Records, Glaser used his own Baby Teeth.

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Vinyl version, front cover

In July 2016, Australian electronic group the Avalanches released their second album, Wildflower.

While the front cover has no type at all, except for a sticker with Jersey M54 for the band name, all-caps Arnold Böcklin for the album title, and ITC Franklin Gothic for additional text, the typographic party takes place on the back: it features a different style for each track on the album, with embroidered letterforms. Most of the song names are based on fonts, with or without modifications.

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Vinyl version, back cover

The Leaves Were Falling: Brush Script
Because I’m Me: handwriting?
Frankie Sinatra: Benguiat Caslon (or a digital version thereof, like Emfatick NF)
Subways: Arial Bold
Going Home: Gillies Gothic
If I Was A Folkstar: West Barnum
Colours: Electric Circus
Zap!: (similar to) Strand Midnite
The Noisy Eater: Baby Teeth
Wildflower: Arnold Böcklin
Harmony: Tango
Live A Lifetime Love: Allura
Park Music: ITC Avant Garde Gothic (?)
Livin’ Underwater (Is Somethin’ Wild): loosely based on Williamson Skidoo (?) and an unidentified script
The Wozard of Iz: Pretorian and Futura
Over the Turnstiles: Motter Femina and Turnpike or similar
Sunshine: Broadway
Light Up: lettering?
Kaleidoscopic Lovers: Commercial Script
Stepkids: Kabel Black
Saturday Night Inside Out: Druk Condensed or similar?

The headings for the sides of the vinyl version are in Windsor Extra Bold Condensed.

The art direction is credited to Chris Hopkins at Lost Art and band member Robbie Chater. Hopkins also provided design and illustration, the latter together with Emi Ueoka. Fergadelic (Fergus Purcell) did the butterfly logo. Kris Vierra took care of quilting and textiles.

[More info on Discogs]

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CD version, front cover

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CD version, back cover

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

Inner sleeve with more octagonal caps

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Inner sleeve ft. a naïve sans and script lettering based on Kalligraphia

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Inner sleeve with more Baby Teeth and lettering similar to Williamson Skidoo. The Biz Markie photo is by David Corio.

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Sheet with five promo stickers

Source: lost-art.com License: All Rights Reserved.

Vinyl record label

Inside back cover advert for Repton 2 from Superior Software.

Repton was a hugely successful and influential game on the BBC Micro, and spawned a host of sequels and knock-offs, including an open-world game with end-user created content. In a discussion of it in the book Acorn – A World in Pixels (in an article titled “The Making of Repton”) I find Chris Payne, marketing manager for Repton 2, to be one of us: he is quoted as saying “I used to sit in bed at night browsing through books of typefaces [...] and came across a newish typeface called Dave, so I asked Mike Ellis to use it for the strap line at the top of the Repton 2 advert.”

Interesting, as I had not heard of a typeface called Dave, so I went looking for the Repton materials. Time passes and it becomes hard to determine exactly which advert Chris Payne was referring to, but I note the Repton 2 advert in Micro User #36 does have a strapline... in a font i don’t recognise.

“Repton” is in the instantly recognisable Baby Teeth, which is also used for the earlier Repton, and the later Reptons. The 2 is in an airbrushed version of Quicksilver.

The Superior Software wordmark and “Acorn Electron / BBC Micro” are in ITC Bauhaus.

The body and much of the secondary text is set (tight-not-touching) in, well, I want to say ITC Avant Garde Gothic, and the £ sign very much wants me to say that, but the numeral 1 does not. An alternate from E+F?

Repton is the name of the character you play, and the average internet consensus seems to be that Repton is a lizard. Repton is also a village in Derbyshire and a school, but those are apparently unrelated.

The unfolded inlay (front) for the cassette version of Repton 2 (for the BBC Model B and Electron). Blue Ribbon (wordmark in Edda) was a budget label, publishing jointly with Superior Software. Because this is the budget release, this is likely a few years after the original 1985 release.

Baron Ironblood

Action Force is an early-1980s, Star Wars-inspired spin off from the popular Action Man dolls, the UK equivalent to America’s GI Joe.

The main fonts used on the brand’s packaging are Glaser Stencil for “Action Force” and Rockwell for the name, with Futura for the age recommendation.

Quite the typographical bounty; the Action Man logo, ported over from the parent line and in use since the late 1960s, is, I think, a patchwork creation using the M and N from Futura Display, the A from, perhaps, Filmotype Mansfield, and the remaining characters from Filmotype Gem?

I haven’t been able to find an exact match so far – perhaps the letterforms were redrafted somewhat during the design process?

The all-caps text inside the starbursts appears to be lettering. Some also are typeset in Dom.

The product line also included various vehicles. The small print on the Skystriker box is Univers Bold Condensed.

The Light weight of Glaser Stencil, put to early use by Milton Glaser himself, in the jacket design for Love Sounds by Gail Sheehy (1936–2020). “A novel” is added in Futura Light. Glaser’s stencil typeface also went by the names Neo Futura and Glaser Futura Stencil. The “Futura” part eventually was dropped, probably due to trademark considerations.

Eightway is a variation on Thorowgood’s classic Sans Serif Shaded which was first shown in 1839 as Sans Surryphs Shaded. Designed by Milton Glaser with George Leavitt, Eightway is distinguished by a more compact build with straight-sided rounds – and by the fact that it comes in variants with eight different shadow directions.

As the capitals of the Latin alphabet tend to be more busy to the right – think E or R – signpainters traditionally add the shadow on the left: this way, they need fewer brushstrokes and get the job done more quickly. In type design, such considerations of speed don’t play a big role. Once implemented in a typeface, the designed glyphs can be reproduced again and again. In consequence, the vast majority of shaded typefaces opt for the more elaborate shadow to the right, see for example Broadcast, Beton licht, Umbra, Profil, Phoebus, Forum II, etc.

Here’s another example of Eightway used by Glaser himself, for the first-edition jacket of The Pump House Gang. In this 1968 collection of essays and articles, Tom Wolfe documents the 1960s counterculture of the USA in general and New York in particular.

Most of the text on the back and the inner flaps is set in Electra.

Picador’s 2022 softcover edition reuses the first-edition jacket, albeit with Helvetica in place of News Gothic.

First UK edition of From Bauhaus to Our House, Tom Wolfe’s narrative on modern architecture, published in 1982 by Jonathan Cape.

Both the author’s name and the title are shown in Milton Glaser’s Baby Teeth, using the Letraset version issued in 1974. Jacket designer Craig Dodd did a few modifications, though: the horizontal in H was made thinner, and the W was turned upside-down and repurposed as M, apparently to make Wolfe’s first and last names rhyme visually. Last but not least, Dodd opened up the O with a vertical slit – after all, this letter appears quite a lot, and the default counterless shape would have be too dominant. The O in the last line escaped this treatment – it’s hiding behing a stylized building anyway.

King Solomon is an album by Solomon Burke, released in 1968 on Atlantic Records. The album continued Burke’s run as one of the premier voices in soul music, blending gospel, rhythm & blues, and deep southern soul. It features standout tracks like “I Wish I Knew (How It Would Feel to Be Free)”, “It’s Just a Matter of Time”, “Party People”, and “Keep a Light in the Window”.

The cover was designed by Loring Eutemey. It features Baby Teeth for the album title, supported by what appears to be Antique for the heading text.

[More info on Discogs]

Discogs files this record by Jeff Monn under “Psychedelic rock” but it looks like this is mostly due to the artwork. Most songs are romantic, poppy, and bordering on easy listening. The arrangements by Peter Schickele try to add some much needed melodic bass, soul horns and occasional psychedelic organs to keep the listener from dozing off. The second song on the B-side, “I can understand your problem” has a different sound – evoking psychedelic rock bands like The Doors – and maybe this is the song that inspired designer Jules Halfant to craft a swirling psychedelic collage for the album cover.

Cover photography by Len Baumann.

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Push Pin Art Deko in use for a 1975 best-of compilation by Sonny & Cher.

Paula Scher (b. 1948) used Milton Glaser’s sans-serif caps with solid letterforms. She overlayered the letters to counter their wideness, additionally creating a spatial effect through the shadows cast onto the subsequent glyphs. The disc-like crossbars in A E H get this treatment, too, turning them into floating objects. To further increase the compactness and to reduce clutter, Scher moved the two stems of H closer together and made the vertical in E thicker. The acute accent most likely is a custom addition. Finally, the lockup is enclosed in an Art Deco frame that echoes the pastel colors of the type.

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Song names and credits on the back cover are set center-aligned in light Futura.

The title sequence used in Gaspar Noé’s Cannes-selected movie Enter the Void has amazed me over the years in terms of typography and graphic design, and thanks to a friend of mine, Puz, (some of) these fonts have been identified.

It was created by Tom Kan, a Japanese designer based in Paris. From Ian Albinson’s interview with Kan for Art of the Title:

The sequence is a typographer’s wet dream (or alternatively their nightmare). How were the various fonts and characters chosen?

The choice of typefaces came rather naturally. After coming up with a large selection in line with the film’s mood, we simply chose the ones that best suited the characters and the personalities of those in the team. Gaspar wanted each title to reflect the person it concerned. It was a beautiful homage and proof of his respect for the members of the team — a way to thank them.

Many typefaces and designs did not get used because the time limit was set — the sound mix was already done and it was impossible to extend. I think we used only 60% of the designs, all in all.

Every typeface used in the sequence seems to be a reference to other famous film title or poster fonts. What was the typeface you selected for your own credit and why?

We appropriated different typefaces, but we never wanted to copy the titles from other films in an obvious way since I thought that would be misleading. For my own credit, I went in many different directions: aged typefaces in metal, Kanji and Japanese calligraphy, techno typography… In the end, I let Gaspar choose and he went with the biggest, most legible type!

Watch the title sequence on YouTube, or right below (epilepsy/flashing lights warning):

Futura Extra Bold Condensed in all caps is the primary typeface for the credits. Here it’s used in combination with Kozuka Gothic for Japanese, alongside some logos.

Music credits include Egyptienne Medium Condensed, Garamond, Eurostile, Bodoni Condensed, Neue Helvetica 93, Futura, and Helvetica Condensed. It’s unclear if the LFO logo uses a font (Disco Deck is similar) or whether it’s custom drawn.

In addition to Futura Extra Bold Condensed, the logos of the production and distribution companies feature Euphoric (Wild Bunch) and Futura Extra Bold (Fidelité).

Producer credits feature FB Agency, Kozuka Gothic, ITC Machine, Futura Display, stretched and slanted Woodblock, and Antique Olive Nord

The names of the co-producers are set in Egyptienne Medium Condensed, Univers Ultra Condensed, Futura, an unidentified font similar to Crown Title, two unidentified stencil(ed) fonts, and Trajan.

More Egyptienne Medium Condensed for Suzanne Girard

Manager credits feature Haettenschweiler, Council, Neue Helvetica Extended (?), Clarendon, Pump Triline, Fiorello, Eurostile, Thorowgood Sans Shaded, and Futura Condensed.

The name of location manager Masahiro Hondo in Glaser Stencil serves as a mask.

Bank Gothic with rainbow glow effect for Lucio Tomaro

Photography credits with slanted Bank Gothic (Benoît Debie), bold italic City with added and extended top and baseline serifs (Gaspar Noé), TFAvian (Akira Kanno), outlined Futura (Yasushi Miyata), Bell Gothic (Jacques Bernier), and Franklin Gothic Extra Condensed (Yves Le Peillet)

Art credits featuring an unidentified blocky unicase face with 3D bevel effect similar to Mark (Marc Caro), FF Vortex (Kikuo Ohta), another unidentified blocky sans (Jean Carrière), and Zeppelin (Nicoletta Massone)

The dripping letters for Tony Crosbie appear to be custom(ized) – Shlop is a similar ready-made font.

Sound and editor credits with Eurostile (Ken Yasumoto), stretched Ironwood (Ryotaro Harada), contoured Nasalization (Claude Lahaye), an upright LCD typeface, probably Digital (Thomas Bangalter), a heavily modified Sonic or another font inspired by the Star Trek TNG logo (Lars Ginzel), Galledis with hyperextended lines (Gaspar Noé), modified SF Archery Black (Marc Boucrot), Zaius, a typeface family emulating the Planet of the Apes movie series logo (Jerome Pesnel), and ITC Machine (Pierre Buffin).

The fonts used for these cards include an unidentified inline face similar to Rubaiyat and Gothicum (Geoffroy Niquet), SF Archery Black (Yann de Cadoudal), OCR-A (Nicolas Delval), Mexcellent (Xavier Allard), fractured caps from a bold sans, possibly Compacta Black (Julien Aullas), Synchro (Bastien Laurent), Helvetica Rounded Bold Condensed (Anne-Sophie Bertrand), and an unidentified squarish sans similar to SB Carbon, Resistance Is Lowered or Apollo Rocket (Loris Paillier).

City Bold, slanted, with double contour and extended baseline serifs, for Tom Kan, Director of Typography

Gaspar Noé in outlined caps from Futura Extra Bold Condensed, without accent on the E

The blackletter typeface chosen for Lucile Hadžihalilović is Linotext (or Mariage, Wedding Text) with some modifications: e and c got bottom serifs and the swash in v was moved from the left to the right stem,

Paz de la Huerta gets various typographic treatments, including Eagle (in a weight between Bold and Black), Futura Dot with Citadel Script, outlined Egyptienne Bold Extended, and ITC Neon.

The Japanese transcription of Paz dela Huerta’s name (パス・デ・ラ・ウエルタ) appears to be Hiragino Maru Gothic or similar, with added contour.

Nathaniel Brown’s name is shown in Pump, ITC Bolt, Aachen, West Barnum Block filled with stars and stripes, and ITC Lubalin Graph Demi.

The fonts chosen for Cyril Roy include Aachen, American Text, Monotype Garamond, and at least two Japanese ones.

The MICR-inspired face used for Olly Alexander is handmade, as confirmed byo Tom Kan. Other fonts include Compacta and all-caps ITC Bolt.

The fonts used for Masato Tanno are Akzidenz-Grotesk Stencil and Ainsdale. The others are yet unidentified.

Gothicum and a (custom?) stencil version of Aachen for Ed Spear, Helvetica Rounded and Neue Helvetica 95 for Emily Alyn Lind, more Helvetica Rounded, an unidentified Japanese font, and Eagle for Jesse Kuhn and Nobu Imai

More ITC Neon and Helvetica Rounded for Sakiko Fukuhara. The bitmap font is 04b_08.

Sarah Stockbridge is set in Haettenschweiler with hyper-extended glyphs).

The names of Janice Sicotte-Beliveau and Stuart Miller are shown in Cooper Black, Impact Wide, Monterey and ITC Officina Serif, Braggadocio, Fiedler Gothic, and Blackoak.

Yemi Carol is presented in Impact Wide, Helvetica Rounded, and a Japanese Maru Gothic. The font shown at the bottom right is unidentified.

Several of the fonts used for Gaspar Noé’s name are yet unidentified. This includes alll fonts in the top row and the left one in the second row, which is similar to Moore Computer and Data 70. Other fonts include ITC Lubalin Graph, Futura Extra Bold Condensed, and Eagle.

In Backstreet Boys’ “Larger than Life” music video from 1999, all the text that appears before the music begins – date, title and band name – is set in Atmosphere (1997) by Jay Vidheecharoen, a font inspired by Wim Crouwel's New Alphabet (1967).

Later in the video, Glaser Stencil (1969) by Milton Glaser can be seen in a holographic UI.

There is also an unidentified techno font used in the year counter present in one of the first scenes in the video, see the last image.

From Wikipedia:

The music video for “Larger than Life” was a big-budget production directed by Joseph Kahn, who also directed “Everybody (Backstreet’s Back)” video in June 1997. The video was shot on a soundstage at Universal Studios on August 12–14, 1999, in Orlando, Florida. The video takes place in a futuristic space setting and includes elaborate special effects and animation, as well as a breakdown with a dance number. It was inspired by the movies Blade Runner and the Star Wars saga.

This is the LP version of Tatsuro Yamashita’s album For You, released in 1982 by Air Records. The album title uses a light weight version of Glaser Stencil and the artist’s name uses tracked-out caps from Gill Sans Bold Condensed. The catalog number at the upper right portion uses Futura.

At the back cover, most of the text is written in demi-bold and bold weights of Helvetica. The text at the middle of the postcard most likely uses a light weight version of Futura. The text at the right portion of the postcard is set in Courier. At the lower portion of the back cover, the Japanese serif text uses Ishii Mincho by Shaken (写研), the weight of the font is unidentified. Lastly, the words “1982” and “RAT-8801” are in Univers Bold.

On the insert, the song titles and track duration for each side along with the production staff at the backside are rendered in an italic variant of Univers of varying weights. The English song titles use Gothic No.1B (ゴシックNo.1B) and the Japanese lyrics most likely uses a medium weight of Ishii Gothic called Ishii Chū Futo Gothic (石井中太ゴシック), both by Shaken. To add this, musician credits underneath each song’s lyrics are in Gothic No.2 (ゴシックNo.2) which is an English-only alphabet also made by Shaken.

Design by Hiroshi Takahara featuring an illustration by Eizin Suzuki.

[More info on Discogs]

Swedish brewery Omnipollo always creates typographically rich and vibrantly illustrated product labels. For their newest beer they collaborated with Brooklyn Brewery to create the Blacker Chocolate Stout. Omnipollo have used F37 Glaser Stencil on the front label for their company name, alongside the Brooklyn Brewery’s logo in Copperplate Gothic. “Blacker Chocolate Stout” uses another typeface designed by Milton Glaser: it’s Glaser Kitchen.

Baby Teeth in early use on Take a Look, a compilation album by Aretha Franklin, released in September 1967 by Columbia Records. The uncredited designer filled Milton Glaser’s graphic letterforms with a four-color stripe pattern of alternating rotation.

The song names are in Twentieth Century Ultrabold, which was carried by PLINC as Futura Ultra Bold. Interestingly, “Featuring” uses a different, almost identical typeface: judging from the wide A, the round G, and the thin middle bars in E and F, this is Airport Black.

[More info on Discogs]

Poster design for Major Murphy at Bell’s Eccentric Cafe with Phabies and Crooked Spires in Kalamazoo, Michigan on September 7, 2023. All thanks to Baby Teeth Dotted by the great Milton Glaser, this poster echos the charming tones of Major Murphy.

The first music cover by German designer Peter Krüll features a brilliant use of Glaser Stencil repeating the words “BILL EVANS TRIO” and removing some of the typeface’s stenciled pieces until the word “PIANO” subliminally appears. (At least that’s my impression.)

Krüll was teaching typography at the University of Dortmund at the time. From 1996 to 2023 he is a professor at the University of Nürnberg Georg Simon Ohm. After this cover for West Wind Records Krüll went on to design many albums for the German label ACT, but none quite as typographically playful.

[More info on Discogs]

This movie tie-in paperback edition of Philip Friedman’s novel-turned-screenplay Rage was published by Warner Paperback Library in February 1973.

The uncredited cover design prominently uses Filmsense as the central element (possibly modified by the addition of the side shade).

The image in the center comes from the poster for the film, sans the title treatment.

From the back cover:

It was the Pentagon’s ultra-secret weapon. Silent. Tasteless. Completely invisible and undetectable—until it was much too late. Then it could take as little as a minute, or as much as a week, before all vital functions disintegrated, and you painfully expired. It was called Nerve Gas. And three hundred pounds of it had been accidentally dumped over Wyoming…

See also Paul Bacon’s first-edition book jacket featuring Americana.

An extensive and eclectic range of typeface was selected in designing the film props used on the set of Una Navidad con Samantha Hudson, directed by Alejandro Marín and produced by Suma Content.