From Goodreads:

In 1989, George Beahm’s Stephen King Companion appeared on the scene and became an instant hit with King fans. It was an orgy of King information, packed with interviews, essays, inside information, rare photographs, and tantalizing trivia. The “Companion” leaped onto the bestseller lists, was snapped up by the book clubs, and became known as an essential resource on King and his work.

Shown here is the first edition published in paperback by Andrews McMeel, Kansas City, 1989.

Choc is used for “The” while Letraset's Carlton is used for both “Companion” and the editor credit. However, it is the red, foil-stamped “Stephen King” that has the most interesting characteristics. The horror writer’s name is done in ITC Fat Face that is so tightly squeezed one might think it is LSC Condensed (aka Fatface Condensed.) The descender of P reaches down to touch the O in “Companion” while the descender of the G appears to suddenly shoot to the left, morphing into an underline.

Book design is credited to Edward King, and typography to Connell-Zeko Type & Graphics. The cover photo of King at the gates of his mansion is by Carroll Hall, courtesy of the Bangor Daily News.

A less compact setting of “Stephen King” appears on the spine.

This album by Ethiopian jazz keyboardist Hailu Mergia was designed by Daniel Kent assisted by Callum Abbott and Mei Lenehan. It is the recording of the live concert by Mergia and his band at Pioneer Works on 1 July 2016. The project was made in collaboration with the Awesome Tapes From Africa label.

[More info on Discogs]

The green banderole shows text in Saol Display Bold with Saol Text Monospaced. The track names appear to be in Franklin Gothic, and the small print in Courier or similar.

The Tokyo–Montana Express is a collection of short stories written between 1976 to 1978 by Richard Brautigan. The book was originally published by Targ Editions in 1979 as a signed edition of 350 copies, and was later published by Delacorte Press in 1980.

In the preface of the Delacorte edition, Brautigan writes “The ‘I’ in this book is the voice of the stations along the tracks of the Tokyo–Montana Express.”

From Brautigan.net:

The Tokyo-Montana Express is a collection of one hundred and thirty-one "stations" inspired by memories of Japan and Montana, January-July 1976, that seem to form a somewhat autobiographical work. Brautigan, defending the unique form of this novel, said each section of the novel represented a separate stop along a journey, a station along a [metaphorical] rail line joining Japan and Montana.

The dust jacket was designed by Walter Harper. The title is typeset in Letraset’s Windsor Extra Bold Condensed, with the author’s name in caps from Venus Condensed. The caption on the back cover is set in Electra. The title page of the Targs edition is set in Carlton, Letraset’s revival of Ehmcke-Antiqua.

Targ Editions title page

Small chocolate-colored crushed velvet jewelry bag with gold foiled Forsythe Jewelers logo.

Adding a little sparkle to a heritage jewelry brand. Forsythe Jewelers polished up their nearly century-old brand just in time for their semi-annual sale. Their logo now uses Carlton, set in overlapping capitals. The main typeface for headlines is Baker Signet, supported by Questa Sans.

Left: Large semi-annual sales event poster. The copy reads: “Save 30-70% off. Clearance sale today”.

Right: A three diamond and gold chain necklace lays elegantly on top silk garmet.

Oversized spring clearance postcard.

Left: Dainty gold braided hoop earrings.

Right: Sales poster with a photo of gold hoops.The copy reads: “Save 30-70% off. Clearance sale”.

Objection is a magazine conceived and designed by Emmanuelle Goutal Studio. It focuses on objects and interiors through the prism of artists, photographers, filmmakers, all invited to present their own vision of a specific part of a home in relation to the theme of the issue. Great names of the cultural field such as photographer Lee Whittaker and Belgian writer Jean-Philippe Toussaint collaborated on the first issue. The magazine will eventually have six issues, each on related to one particular place: The Bedroom, The Bathroom, The Kitchen, The Office, The Garden. For the initial issue, the choice fell on The Living Room: As the world fell into the pandemic, the urge was to relink with togetherness, such as could be experienced in this particular room of a home.

The design of the magazine reclaims the influence of fashion magazines, with a large space given to photography and a sober yet elegant typography. Its logotype shows the materiality of the objects dealt with in the articles, by using bespoke inscriptional letterforms based on Carlton that keep the trace of the material support in its design. The interior is set with Cardinal Fruit from Production Type for titles and texts. The synthetic effect the designers wanted to achieve in creating this typeface suits the artificiality of product design, and echoes the diversity of how an object can be shaped. The fact that the title pages offer a generous white space valorizes the font and makes the words look themselves like objects arranged on a surface. Enduro, another recent release from Production Type, is used for quotations and captions: used in its bold version, the typeface creates straight black lines of text which give the layout a graphic quality.

This album by Californian psychedelic rock band Rain Parade was recorded live at Shibuya Hall, Tokyo, Dec. 16, 1984. Originally available only as a Japanese import, this is the cover of the US re-release on Restless Records.

The band name is rendered in tightly spaced and partially overlapping caps from Carlton, Letraset’s 1970s revival of Ehmcke-Antiqua. Originally issued by Flinsch in 1909, the foundry version was sold by Stephenson Blake in England under the name Carlton. The A used here is included in ITC’s digital version as a stylistic alternate.