In addition Quick, the front cover features Venus Extended in two weights and Century Expanded Italic for “Series 2000”.

Filmotype Quick is an inline variant of Ginger, issued in c.1958. In 1961, designer Murray Stein specified it for an album of Italian guitar music, released by Time Records in their Series 2000. The cover painting is by Mino Ceretti. The typography was carried out by The Composing Room, Inc., New York.

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On the gatefold, “GUITARS” and “ITALY” were aligned to the letter I, and the open stems extended all the way to the top edge.

The back cover typography has Filmotype Jefferson for “Series 2000”, all-caps Franklin Gothic Extra Condensed for the track list, Trade Gothic in two widths for credits and address, and Clarendon.

Marge Valko used Harem for the book jacket of The Paramount Pretties by James Robert Parish. From book seller ezslides:

In the heyday of Hollywood, every major studio had its own personality - a personality defined by its films and its stars. Thus Paramount Pictures was thought to be the haven of sophistication, style and subtlety, its actresses the epitome of wit, intelligence and beauty. In this magnificently illustrated salute to Paramount, movie historian James Robert Parish has selected 16 of the most striking and renowned of Paramount's actresses to illustrate the studio's personality.

The title page uses Filmotype Quick and Primer.

Original Goodies is a doo wop compilation put together by Diane Dadaian and Harry Ringler for Time Records and released as TIME 52082 in 1963.

The purely typographic cover was designed by Murray Stein and typeset at The Composing Room, Inc., making the most of Filmotype’s library. In addition to nine originals by the phototype pioneers from Illinois, including Quick for the title and Falcon for the artist names, there are three foundry typefaces which were adapted to Filmotype’s two-inch film strip format: Latin Wide, Cooper Black, and Microgramma Bold Extended. These are listed in Filmotype’s catalog as LW, COP6, and MM56. Wand is the only typeface to appear twice in the song names, for “Sherry” and “Lullaby”.

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Text on the back cover is set in Alternate Gothic and News Gothic.

Australian One Sheet (27″×40″), Roadshow

Bordering on LTypI: Filmotype Quick for Death Race 2000.

In the year 2000 hit and run driving is no longer a felony. It’s the national sport!

The dystopian science fiction action film from 1975 starring David Carradine, Sylvester Stallone, and Simone Griffeth was produced by Roger Corman and directed by Paul Bartel. The poster and the lobby cards shown here were produced by Australian distributor Roadshow.

On the poster, Quick is paired with various gothics. Judging from the small counters, the screened letterforms for David Carradine’s name might be from Quick with the inline filled in.

Australian lobby card set (11″×14″). The tagline is set in caps from Helvetica schmalfett (or maybe Helvetica Inserat).

Australian lobby card (11″×14″), Roadshow

In 1969 Liberty Records distributed their records themselves. In 1970 they went to EMI Electrola for distributing. A nice collection but more Blues and Blues Rock than Prog Rock.

Art direction by Gabor Halmos, with illustration by Roger Chouinard.

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“The Good Old Days” (No. 71) ft. Filmotype Quentin and P.T. Barnum

Covers for various clip books of line art issued in 1960 by Harry Volk Jr. Art Studio, Pleasantville, New Jersey. Most if not all typefaces used for these covers were available from Filmotype, with many of them being originals by the American phototype company. See the previous post about the clip books issued in 1955 for more information on Harry Volk Jr. Art Studio.

“Spring” (No. 69) with caps from Filmotype Ridge on a bouncing baseline. The same face had been used for the spring-themed booklet from 1958, too.

“Spring” (No. 69) ft. Filmotype Ginger

“Announcing” (No. 73) ft. Filmotype Giant in all caps, paired with Venus Extended and Futura.

More Filmotype Giant and Venus Extended for “Agriculture” (No. 72).

“Ad Libs” (No. 74) ft. Ginger, another, bold member of Filmotype’s “G series” of condensed Grotesques from the early 1950s. The casual serif at the bottom is Orlando. Both styles were made available in digital form in recent years. Ginger was digitized by Mark Simonson in 2008, and Orlando by Charles Gibbons in 2013.

“Direct Mail” (No. 75) ft. more Filmotype Giant. This style was digitized by Patrick Griffin and Rebecca Alaccari in 2011, together with the oblique Filmotype Escort. Among the secondary typefaces are Volta and Copperplate Gothic.

“Service” (No. 79) ft. Filmotype Quiet, with Venus Extended and Century Schoolbook Italic.

“Winter” (No. 87) features a special effect typeface from Filmotype’s library. Quest is derived from Filmotype Flyer, with letterforms that are texturized to the right and the bottom. In this context, this gives them a frosted look.

“Buildings” (No. 284) ft. Filmotype Flare, the heaviest and widest style in Filmotype’s series of sans serifs with vertical terminals, combined with more Venus Extended and Futura.

“Sales” (No. 286) ft. Filmotype Ebony, the oblique companion of Flare. See also the clip book cover on the same topic from the following year. Small type in Futura Extra Bold Condensed and Futura.

“Summer” (No. 291) ft. Filmotype April.

“Men” (No. 292) again with Filmotype Flare.

“Groups” (No. 294) ft. Filmotype Veteran, an outlined version of Filmotype Free.

“Autumn” (No.296) ft. Filmotype Horizon.

“Education” (No. 297) ft. Filmotype Vanity, the first of Filmotype’s effect style outline typefaces. It’s based on Filmotype Ginger.

“Christmas” (No. 298) ft. Filmotype Zanzibar.

“Telephones” (No. 301) has more Filmotype Giant. Note how the text in Century Schoolbook Italic wraps around the line art.

“Medical/Surgical” (No. 302) ft. Filmotype Quick.

“Show Biz” (No. 303) with the title in more Filmotype Veteran.

“Couples” (No. 304), again with Filmotype Vanity.

“Politics” ft. Filmotype Ginger, Venus Extended, and Times New Roman.

Paste Pot & Scissors (No. 11). ft. Filmotype Arctic and Filmotype Fox. Paste Pot & Scissor was originally a promotional newsletter to subscribers that featured a letter from Harry Volk, usage and production tips, and real-life examples. These issues were often 2-color and printed on uncoated matte paper.

Paste Pot & Scissors (No. 17, October 1960), ft. Filmotype Veteran.