Wikipedia:

Sound Affects is the fifth studio album by the English rock band the Jam. The album was released on 28 November 1980 by Polydor Records. It is the only Jam album to be co-produced by the band themselves, and contains the only album track co-written by the entire band, “Music for the Last Couple”.

The cover art is a pastiche of the artwork used on various Sound Effects records produced by the BBC during the 1970s.

Jam frontman Paul Weller has opined that Sound Affects is the Jam’s best album.

Despite being a tribute to the BBC Sound Effects records, the album title uses a surprisingly different font: Vineta, in italic caps with shadow. “JAM” and “NO. 80” appear to be added in Univers Bold Italic. “POW!” is in Stencil. The artist and title on the back useEurostile Bold Extended, accompanied by Helvetica.

The back cover of the album features an excerpt from Percy Bysshe Shelley’s poem The Masque of Anarchy.

Flyer for a post-punk gig with Uzu and Drim, at les Pavillons Sauvages in Toulouse, France.

“Juvenile” (2017) was The Blaze’s debut single.

I was playing Tame Impala on my phone and, while staring at their great album art, I started wondering why so many artists reach for Eurostile. Admittedly, Tame Impala actually use Microgramma in their title treatment – but since Microgramma is Eurostile's caps-only predecessor (both originated at Nebiolo), it’s close enough to count. That got me thinking about French electro duo The Blaze, who use Eurostile consistently on their album cover art and across the titles of their (genuinely amazing) music videos.

The debut album Dancehall was released in September 2018 on Animal63. Design by Dreams Office with art direction from Manu Barron and photography by James Briandt.

Track list for Dancehall

CD label for Dancehall

The second album Jungle followed in March 2023, again with a cover by Dreams Office. The vinyl version was again released on Animal63, the CD on Believe Digital.

Back cover of Jungle

The latest album, Folk, was recorded live at the Royal Albert Hall and released in July 2025.

“Like to Get to Know You Well” is a 1984 single by English singer Howard Jones. From Wikipedia:

The sleeve carried the motto “Dedicated to the original spirit of the Olympic Games” as the single was released at the start of the 1984 Summer Olympics in Los Angeles. The extended version, subtitled “international remix”, features Jones singing in English, German and French.

This international aspect carried over to the single’s sleeve design, where the uncredited designer depicts the title in a variety of (badly translated) languages and fonts. The artist name as well as English and French titles use Berling Bold. The Dutch title uses News Gothic Extra Condensed and the Spanish one Americana Extra Bold. The German is in Beton Bold Condensed, while the Japanese is in Gothic MB101. Italian is Futura Demibold. The Greek is in Eurostile Extended Black, with alterations made to create some faux-Greek glyphs. Finally, the Swedish uses Plantin.

[More info on Discogs]

“Bounce Right Back” on the back cover uses Berling as well.

A later release of the single replaced the badly translated Japanese with a slightly less bad translation, and replaced the Swedish at the bottom with “12″ International Remix” in Helvetica Bold.

The AE-1200WH-1AV, the default black resin model

The Casio AE-1200, first released in 2012, is yet another legendary line of digital watches made by Casio. The watch has earned its wide respect from its strong reliability, 100m water resistance, and especially its world-time function at a price only slightly higher than the F-91W. Not only has it spawned its own dedicated modding community but it has earned the nickname “Casio Royale”.

In typical Casio fashion, the watch’s face is littered with guides that describe the features. Though unlike Casio’s other popular watches, the design is notably much more restrained and rather tasteful. The face uses a mixture of Eurostile and Neue Helvetica Extended for the text.

An AE-1200WHL-5AV which comes with a beige color scheme and a leather strap

The AE-1200WHD-1AV is the most striking and most popular variant of the Casio Royale due to its metal appearance.

My own black AE-1200

A modded AE-1200 with a custom strap and a custom filter on the display

The L-1011 TriStar was an early American wide-body, trijet civil passenger airliner designed and manufactured by Lockheed Corporation. Introduced in 1972 with launch customers Eastern Airlines and Trans World Airlines (TWA), the L-1011 was produced until 1983 and flown by major carriers around the world through the 1990s.

Shown here in manufacturer livery, the empennage uses Motter Tektura (with custom capitals) to indicate the marketing name of the aircraft. A bold Eurostile marks the manufacturer and model number on the fuselage (and probably the smaller registration indication, as well).

Front cover

Moon Safari is the debut album by French electronic duo Air. Featuring the singles “Sexy Boy”, “Kelly Watch the Stars” and “All I Need”, the album was a huge critical success and a landmark title in the downtempo genre. The album design is by Mike Mills.

The artist name uses ITC Pioneer. The A has been modified, with the top left corner of the glyph and the counter being changed to right angles. The length of the shadows have also been extended. All other text on the cover, back cover and inner sleeve use Eurostile.

Back cover

Inner sleeve of the vinyl release by Astralwerks

In 2021, Dave Depper of Death Cab for Cutie released a cover album covering Moon Safari. It seems the designer of the new logo, Katie Geppert, was unaware of the original font, so modified a different font (Sporty Pro Xbold?) to look like ITC Pioneer.

Merch scarf designed by Ignasi Àvila Padró for Catalan artist gavina.mp3, using Eurostile Bold Extended and featuring excerpts from the lyrics of his song “Ho sento molt” (“I’m very sorry”). Distributed by Recreo Store, the scarf is currently sold out.

Volksans is the brand typeface used by SMD. The logo is based on Eurostile, with modications.

From their website:

For over 50 years, our pioneering world-first-engineering has supported our subsea partners to thrive in the toughest underwater environments, and grow sustainably with new capabilities.

Based in the North East of England, we’re continuing to grow. With a proud legacy, we deliver cutting-edge technology to help our clients achieve excellence underwater. Our robotics, engineering and technologies help the world to generate and distribute energy, to communicate, develop and evolve. Today we’re at the forefront of making offshore and underwater activity safer, more sustainable and more beneficial to people and the planet.

The Quantum EV is a remotely operated underwater vehicle (ROV).

Source: www.arcade-museum.com License: All Rights Reserved.

Japanese flyer. The Japanese fonts are unidentified.

Hippodrome, known as Fighting Fantasy in Japan, is an arcade fighting game by Data East. Per the game's flyer:

You are about to enter a different time, in a different world – a world where gladiators still fight in arenas of stone. And once a year, there is a worldwide competition to determine the best fighter on the planet, the creature with the strongest combination of power and skill.

The time for the competition has arrived. This is your chance to test your prowess against the mightiest warriors alive. Creatures are gathering from all over the planet to vie for the title of World Champion at the Hippodrome!

The titles on both the US and Japanese arcade flyers are based on Arnold Böcklin, to varying degrees of accuracy. The Japanese title is largely faithful, outside of the top left of the Y and a sword replacing the T in Fantasy. The American flyer on the other hand uses completely different glyphs for H and I. Interestingly, the pixelated version used on the title screen in-game has a much more accurate recreation of the original Arnold Böcklin font.

Source: www.arcade-museum.com License: All Rights Reserved.

American flyer with artwork by Frank Cirocco. Text is set in different styles from Eurostile which is also the typeface used for the Data East logo.

Source: retrovania-vgjunk.blogspot.com License: All Rights Reserved.

The American title screen for Hippodrome. Notice the more accurate depictions of H and I.

Source: retrovania-vgjunk.blogspot.com License: All Rights Reserved.

The Japanese title screen

The Seamus-O Building, 4700 Lorain Ave, Cleveland, Ohio, has a sign in caps from Eurostile.

Precious little is known about this building. It’s a shame, given how boldly its name appears.

This compilation with “The Very Best of Chevalier” brings together a dozen hits by French singer, actor, and entertainer Maurice Chevalier (1888–1972), including “Valentine”, “Louise”, “Mimi”, and “Thank Heaven for Little Girls”. It was released in 1964 by MGM Records.

The big caps for “CHEVALIER” appear to be custom lettering, loosely based on Broadway (Condensed). The rest of the uncredited cover design is exclusively typographic, featuring twelve styles from ten typefaces (Peignot is represented by two weights, and Ultra Bodoni by roman and italic styles). Broadway also appears in unmodified form, for “Did You Ever See a Dream Walking”. Can you spot the LTypI?

[More info on Discogs]

A badge created by Sam Potts for the Judge John Hodgman podcast.

Battle Mask, 1970. Secondary text is in Trade Gothic and Gothic No. 13 or similar.

Matterhorn is used for Don Pendleton’s The Executioner series from Pinnacle Books. Shown above is the first printing of the third book, Battle Mask, published in April 1970. The shorter bar in the first letter of the tt combo and the shorter bottom bar in E are likely contextual modifications. This masthead became the standard for the series starting with the the seventh book and the series’ many reprints until sometime in the late 1970s, several of which are shown below.

From Wikipedia:

The Executioner (a.k.a. Mack Bolan) is a monthly men's action-adventure paperback book series (published from 1969–2020) following the exploits of the character Mack Bolan and his wars against organized crime and international terrorism. The series has sold more than 200 million copies since its 1969 debut installment, War Against the Mafia.

The regular series includes 464 novels (as of December 2020 when the series ended). […] The Executioner was created and initially written by American author Don Pendleton, who penned 37 of the original 38 Bolan novels (he did not write #16).

War Against the Mafia, 1972 (8th printing)

Death Squad, 1971. Text in the angled band is in Eurostile Bold Condensed and the synopsis in Helvetica Bold.

Miami Massacre, 1970. Text in the angled band is in Franklin Gothic and the synopsis in Helvetica Condensed.

Continental Contract, 1971

Assault on Soho, 1978. Matterhorn is paired with two weights of Helvetica Condensed.

Nightmare in New York, 1971

Chicago Wipe-Out, 1978

Vegas Vendetta, 1979. Text in the angled band is in Akzidenz-Grotesk Condensed and the synopsis in Trade Gothic Bold.

Caribbean Kill, 1972

California Hit, 1972

Boston Blitz, 1974

Washington I.O.U., 1978

San Diego Siege, 1972. Cover art by Gil Cohen.

Panic in Philly, 1973. Cover art by Gil Cohen.

Sicilian Slaughter by Jim Peterson, 1973

Simply wonderful off-brand typography makes wonderful use of Aztec, supported ably by an understated Eurostile Extended. This example represents one of three different English language editions of this title, all of which feature interesting font combinations – this one nudges past the post for me though, for novelty alone.

The novelization of David Cronenberg’s Videodrome was written by Dennis Etchison (1943–2019) under the pen name Jack Martin.

Aldiviva is the typeface used for the name of Sassy009.World, the website of Oslo-based musician Sunniva Lingård a.k.a. Sassy 009. Additional fonts that appear on the homepage include Eurostile for “Sassy Chat”, Druk Wide for “Blue Racecar”, and Carlista Buttery for “Here Comes The Weekend”. “Heart Ego” combines stretched Helvetica Inserat or similar with Signerica, and “Mystery Boy” remains mysterious for now. Text and UI elements use Neue Haas Grotesk and TWK Everett Mono.

Crystal Eyes Stalk at Midnight album cover

Album and promo art for Sean Wolcott’s 12th album, Crystal Eyes Stalk at Midnight. Macbeth is used as the primary display typeface, along with Harry supporting. Futura can be seen in the Clockwork Records logo, and Eurostile was used for the BGM logo along with the catalogue number.

For the promo posters, a variety of fonts were used including Nuevo Passion (a 2013 digitization of Mecanorma’s Contest), Cooper Black, and ITC Serif Gothic. Akzidenz-Grotesk Condensed is used for body copy throughout the cover and promo posters.

Crystal Eyes Stalk at Midnight vinyl with obi

Crystal Eyes Stalk at Midnight promo poster #1

Crystal Eyes Stalk at Midnight promo poster #2

Crystal Eyes Stalk at Midnight promo poster #3

Crystal Eyes Stalk at Midnight promo poster #4

An album from the legendary Wackie’s record label based in the Bronx, active in the late 1970s and 1980s. Helmed by Lloyd Barnes, it became an important place for roots reggae and dub productions with many artists coming from Jamaica to get the special Bullwackie treatment.

The album’s typography is constructed using dry-transfer lettering, mainly Letraset. It’s interesting to see an X-Acto knife reproduced on the cover. It’s shown next to a microphone, a reel-to-reel tape, and what looks like a ruler. Perhaps, a nod to the way the cover is made? The bulk of Wackie’s album covers were very much in the pared down, lo-fi style, appropriate to the sound of the label itself.

The Presenting line is set in Tintoretto. the rest of the type on the front is set in Raphael, and Eurostile.

Note that the images shown are from the reissue from 2005, which scanned the original covers and reproduced them. Early 2000s saw a big interest in the Wackie’s label and many reissues were published in Germany by Basic Channel at that time.

The album was designed Leslie A. Moore, who ran LAM Graphics International design studio, specializing in album covers. You can see more of Leslie’s work at discogs.com

Back of the album is dominated by Bodoni Bold, Times New Roman, and Eurostile. The credits of musicians on the back are curious in that they use the caps from Bodoni, and lowercase from Times New Roman. This certainly is easy to do with dry-transfer lettering.

Original back cover with the distribution credits to Wackie’s and the year at bottom right

The DW-5600E-1V, an entry-level watch in the 5600 lineup and most people’s first introduction to the G-SHOCK brand.

The G-SHOCK 5000/5600 series of digital watches (alternatively named the Square G-SHOCKs) gives the Casio F91-W a run for its money. Its high versatility, ease of use, and legendary reliability makes it one of the most popular watches, worn by virtually everyone and having hundreds of models in its lineup. The 5000 series was launched in 1983, with its modern and more accessible counterpart – the 5600 series arriving in 1987.

In traditional fashion, Casio uses a lot of text printed on the watch’s face and carved into the resin case to describe features and controls. While some models can differ in color and layout – sometimes heavily so – Casio continues to use Eurostile in both its Regular and Extended width and regularly using weights from Regular to Bold. The large casing makes the already big text even more readable up to an arm’s length. The Casio logo itself appears to be in Microgramma, judging from the counter in A.

A closeup of the DW-5600E-1V

An authentic DW-5600C, the very first G-SHOCK to be manufactured and released. The case layout hasn’t changed much if at all since release, with modern versions and reproductions of old G-SHOCK's adhering to the same basic framework.

The DW-H5600-1, a much more modernized 5600 with a clearer display and extra features for active sports

The DW-5610UU-8, G-SHOCK’s “take on gorpcore fashion” with a heavily reduced case design, only featuring text for the buttons.

My own square G-SHOCK, the G-5600UE-1. This newer model along others also feature a different font design for the date.

Produced by Bodleian Library Publishing, Type Designers of the Twentieth Century written and designed by David Jury explores the many developments typefaces have experienced through the twentieth century. The book presents 37 type designers working at different times and with different technologies, how they have reacted to technological and cultural changes and the typefaces they created.

The book is typeset in Enigma Text with Shaker used for captions. Cover and title page feature Eurostile.