Benguiat Indian* in a near-LTypI use on the cover of a Native American exploitation novel by John Frederick Lange Jr. (b. 1931), published under his pen name John Norman, best known as the author of the Gor series of science fantasy novels. Cover art by Thomas Beechum.

Benguiat Indian is Serendipity with bifurcated serifs. Buffalo is a rounded variant. See also Benguiat Zenedipity, a spinoff with flared bottom halves.

From the back cover:

Standing Rock, Dakota …
In the summer of the year preceding the Massacre of Wounded Knee [of 1890], there was much unrest among the recently defeated Sioux. For defeat did not sit easily on these warriors of the great plains the transition from fighting nomad to reservation farmer did not take place; and there were those who rode secretly with the call to the Ghost Dance and war.
ln that fateful summer there came to Standing Rock a white man, a doctor, fleeing from the threat of death – Edward Chance, who, willy-nilly, would become blood brother to the Sioux and play a powerful part in their last great uprising.
A broad, sweeping pioneer historical, rich with the color, the life, the terror of a time that will never be again.

Published by Ballantine Books in 1970, three years before the Wounded Knee Occupation took place.

*) Note that the term “Indian” is considered problematic, for being an exonym and also for being ambiguous. While many older Native Americans self-identify as “Indians” or “American Indians”, younger Native Americans often identify as “Indigenous” or “Aboriginal” today.

“Communications” from the Paste Pot & Scissors subseries, ft. Mike Hinge’s Hinge Computer. Illustartion by Tom Sawyer.

Covers for various clip books of line art issued in 1970 by Harry Volk Jr. Art Studio, Pleasantville, New Jersey. The series provides a glimpse into the topics that were in demand by the press – and by the media in general – in the United States at the time. The covers paint a slightly more progressive image than those from a decade before, e.g. with a women in the driver’s seat (for “Transportation”, see below). The vast majority of the portrayed people still is white and male. The cover for “Communications” (above) with three protesting women is an exception.

The series is also a snapshot of what was in fashion in display typography. The chosen faces – almost each cover features a different one – are diverse in style. Many were issued only shortly before. There are several exclusive designs by the NYC-based typesetting studio Photo-Lettering (Hinge Computer, Brave and Free, Calendar, Microcircus, Benguiat Indian, Bauhaus Prisma, Bordonaro Black Magic, West Kangaroo) and also a few recent releases by VGC (Giorgio, Antikva Margaret).

See also the dedicated post about the subseries titled Grafika which was introduced in 1970. For more information on Harry Volk Jr. Art Studio, see the post about the clip books issued in 1955.

“Happy Birthday” (No. 190) ft. Davison Dimensional (1969). The small text is in Helvetica.

“Holidays” (No. 191) ft. Brave and Free with stretched letterforms.

“Travel” (No. 195). While the title is set in caps from Georg Trump’s City fett, rasterized and repeated at varying angles like stamps in a passport, the names of the destinations are hand-lettered. Some are probably based on existing faces, e.g. “Orient” appears to emulate Benguiat Newlock. “Greece” might be patterend after Copeland Trillium.

“Religion” (No. 196) ft. Solemnis. “18th Anniversary Issue” uses tightly spaced Futura Light.

“Winter” (No. 197) ft. Giorgio (Giorgio Giaiotto, 1966).

“Men” (No. 198) ft. Profil. Illustration by Tom Sawyer.

“Women” (No. 199). Illustration by Tom Sawyer. The constructivist stencil caps are from Futura Black.

“Holidays” (No. 200) shows tightly spaced lowercase Clarendon.

“Crowds” (No. 201) ft. Filmotype Vigus. The portrait format and the use of ITC Avant Garde Gothic Light as secondary typeface suggest that this was a late edition, already in the style used in subsequent years.

“Groups” (No. 526) ft. Calendar (1969).

“Transportation” (No. 527). Illustration by Tom Sawyer. The typeface is PLINC’s Microcircus, a squooshed variation of Microgramma/Eurostile.

“Insurance” (No. 529) again features Microcircus.

“Western” (No. 533) ft. a depiction of a Native American with feathered headdress. The type was apparently chosen for its name – it’s Benguiat Indian.

“Food” No. 539 ft. Prisma Graphic.

“Human Relations” (No. 541) in Cartier (Carl Dair, 1967), with slightly stretched letterforms.

“Education” (No. 542) ft. caps from Antikva Margaret (Zoltán Nagy, 1966).

“Handyman” (No. 543) ft. Goudy Oldstyle Bold, with a shortened ascender for d.

“The Golden Years” (No. 544) ft. Augustea Open. Illustration by Tom Sawyer.

“Teens” (No. 545) ft. Bauhaus Prisma K (1970).

“Family” (No. 546) ft. Jana (1965). Illustration by Tom Sawyer.

“Sales” (No. 547) ft. Eurostile stretto. Illustration by Tom Sawyer.

“Spring & Summer Sports” (No. 548) ft. Permanent Headline in solid and open styles.

“Worry-Fear” from the Paste Pot & Scissors subseries (No. PP132) ft. Black Magic by Lewell Bordonaro.

“Son of Little Guy” (No. PP136) ft. West Kangaroo Demibold, an informal face with horizontal stress by Dave West.