First edition, Flower Press, 1982

From Wikipedia:

Worms Eat My Garbage: How to Set Up & Maintain a Worm Composting System is a book by Mary Appelhof self-published in 1982 under the company name Flower Press. The book is still held as seminal reading in the field of vermicomposting.

The cover illustration and possibly also the cover design is by Mary Frances Fenton. Octopuss was apparently chosen for its vermicular qualities.

Worms Eat Our Garbage: Classroom Activities for a Better Environment is a sequel published in 1993. The cover art is largely the same, with adjusted colors. ITC Avant Garde Gothic was substituted by ITC Benguiat Gothic for secondary text.

The second, completely revised edition was published in 1997, “after 100,000 copies sold”.

Source: archive.org Internet Archive. License: All Rights Reserved.

Album cover (front)

The Present from 1983 is the eleventh album by rock group The Moody Blues from Birmingham, and the last original studio album to be released on their custom label, Threshold Records. It spawned a UK Top 40 hit in “Blue World” and a US Top 40 hit in “Sitting at the Wheel”.

The cover design by The Studio features an airbrush rendition of Daybreak. This neo-classical painting by Maxfield Parrish was created in 1922 and went on to become the most popular art print of the 20th century. In the 1980s and 1990s, it was referenced in various works of popular culture, from the poster for the 1987 film The Princess Bride to the 1995 music video for Michael Jackson’s “You Are Not Alone”.

The quirky typeface chosen for the title goes back to the 1920s, too: it’s Greeting Monotone, designed by Morris Fuller Benton for ATF in 1927. Apparently conceived for the use on quaint-looking greeting cards, the low-contrast design with stub serifs, wide proportions and a short x-height was equipped with a number of ligatures and alternates, several of which can be seen in this Use. Intertype adopted Greeting Monotone for its line-casting machine, paired on matrices with Adonis, another novelty design by ATF. Monotype offers a digital version, but it lacks all the extra glyphs.

The accompanying typefaces is ITC Benguiat Gothic (1979), the sans-serif spin-off of ITC Benguiat (1978) with rounded terminals. It’s used exclusively in italic styles, and predominantly in all caps.

[More info on Discogs]

Source: archive.org Internet Archive. License: All Rights Reserved.

Glyph set for Greeting Monotone from ATF’s 1934 specimen

Source: archive.org Internet Archive. License: All Rights Reserved.

On the record labels, the typeface roles are reversed: Benguiat Gothic is used for the titles and Greeting Monotone for the band name, here with the swashy alternate M and the terminal forms for e and d (also in medial position), but not with the Th ligature.

Source: www.ebay.com Vinyl Tap Music and Memorabilia. License: All Rights Reserved.

“Sitting at the Wheel” single [More info on Discogs]

Source: www.ebay.com Vinyl Tap Music and Memorabilia. License: All Rights Reserved.

… with “Gemini Dream” and “Sorry” on the B-side

Source: www.ebay.com Squeallyhoe. License: All Rights Reserved.

“Blue World” single [More info on Discogs]

Source: www.ebay.com Squeallyhoe. License: All Rights Reserved.

… with “Going Nowhere” on the B-side

This “easy way to teach self-sufficiency” was written by Marijke Bisschop and Theo Compernolle, two experts in child psychology at the University of Leuven, Belgium. First published in 1981 by Elsevier Librico, this American edition translated by Edward Haasl was issued by Prentice-Hall as a Spectrum Book in 1983. Jacket design by Hal Siegel, featuring the original illustrations by Lieve Loenders.

Siegel used several styles of ITC Benguiat Gothic. The title is set in large and tightly spaced caps, in alternating line colors. Gaps are filled with inline images. The first L and the T were extended to also fill tiny gaps in the lines above and below, respectively.

Computer Graphics for the IBM Personal Computer, 1983

Two books on computer graphics, authored by M. Pauline Baker and Donald Hearn and published by Prentice-Hall in 1983. The covers were designed by Jeanette Jacobs, both times using ITC Benguiat Gothic Heavy, the boldest weight of Ed Benguiat’s sans-serif spinoff of ITC Benguiat.

Microcomputer Graphics. Techniques & applications, 1983

Matilda the Computer Cat, 1984. Cover design by Carol Conway with an illustration by Bethann Thornburgh

In 1984, Claire Bailey Passantino authored a series of books that taught kids – explicitly including girls – about computers and programming. They were published by Reston, a specialized imprint of Prentice-Hall, in the Creative Pastimes book series. Each title was available in different editions: for the Atari, the Commodore 64, and the TI-99/4A.

The cover typography uses all-caps ITC Benguiat Gothic throughout. The sans-serif variant of ITC Benguiat (1978) with monolinear strokes and round terminals was released in 1979, becoming a staple on 1980s book covers.

Itty Bitty Bytes of Space for the Commodore 64 computer, 1984. Cover design by Nancy Sutherland with an illustration by Bethann Thornburgh

School Days for the TI-99/4A, 1984. Cover design by Carol Conway with an illustration by Bethann Thornburgh

Written by Swiss computer scientist Niklaus Wirth (1934–2024), first published in 1976. The edition with the cover seen here is from 1986.

ISBN 978-0130220059

Pig Out at the Galloping Ghost Arcade, Chicago

Pig Out is an arcade game produced by the Leland Corporation in 1990. The title including the slogan “Dine like a swine” use Frankfurter Highlight, Nick Belshaw’s 1978 extension of Letraset’s original Frankfurter from 1970.

In this game, a bunch of little piggies run around in a gym-like maze trying to eat up all the goodies on the road. They must avoid an evil butcher and several big bad wolves chasing them.

Read more about Pig Out on the website of the International Arcade Museum and in the LaunchBox Games Database.

Full arcade cabinet

Title screen

Flyer for Pig Out featuring two weights of ITC Benguiat Gothic

UK print ad from Zzap!64 for the ports by Ocean, featuring the Gryzor logo, which based on Earth, and additional text set in ITC Benguiat Gothic. Character illustrations by Bob Wakelin.

From Wikipedia:

Contra is a run and gun video game developed and published by Konami, originally developed as a coin-operated arcade video game in 1986 and released on February 20, 1987. A home version was released for the Nintendo Entertainment System in 1988, along with ports for various home computer formats, including the MSX2. The arcade and computer versions were localized as Gryzor in Europe, and the NES version as Probotector in PAL regions.

Designer/s currently unknown. Character illustrations for Bill and Lance, featured on the covers/ads for Contra and Gryzor, are by Bob Wakelin. If they look somewhat familiar, here's the inspiration.

Both the Contra and Gryzor logos are based on Earth. The Contra logo appears to be custom lettering, rendered in a more condensed derivation with a brush style C, but it retains many of Earth's key characteristics. The logo for Gryzor, however, is more assuredly based on Earth, with the French Amstrad CPC cover displaying an exact typesetting on the back panel of its cover. The Z is hand lettered in a brush style. This cover also features ITC Lubalin Graph, used for the Amstrad specifications on the front panel.

UK print ad for Ocean's Gryzor ports also features text set in ITC Benguiat Gothic and ITC Avant Garde Gothic.

The logo seen on the Japanese flyer for the 1988 arcade sequel, Super Contra, also features Earth. It is used for the word "Super," with the S being hand lettered in a brush style.

For the 1990 European release of the PAL version on the NES, the Probotector logo is based on a horizontally squeezed Report, with a chrome gradient fill.

Full view of the cover for the French release of Gryzor for the Amstrad CPC (disk version), developed by Ocean. Character illustrations by Bob Wakelin. Logo typeset in Earth on back panel.

Flyer/side panel decal for Konami's arcade version of Contra. The game's logo, aside from the C, is loosely based on Earth.

Front cover of the NES version, developed by Konami and released in the US in 1988. Character illustrations by Bob Wakelin.

Flyer for the 1988 Japanese release of the arcade sequel, Super Contra. Earth is used for the word “Super”. The S is hand lettered in a brush style. Type used for Japanese text currently unidentified [edit: there is @typeentity:235485@ and Gona, see comments].

Front panel of the box for the 1990 European release on the NES, titled Probotector. This logo is based on Report a.k.a. Charger.

A six-track EP produced by VDR, with text and voice by Meetsysteem, telling stories about paranoia, societal anxiety, depression, regret and love. Released in 2022 by Kontakt Group and Stroom (Belgium), the only common thread through these disparate songs is the 909: a drum machine usually used for techno music, demoted to a rhythm box used in a shady backroom in Brussels.

Graphic design by Emile De Geyndt utilising an image by Atelier Kroll and BD Geminis. Track listing and credits on the reverse of the sleeve appear in ITC Benguiat Gothic Heavy.

[More info on Discogs]

Book jacket of the hardback edition, Crossing Press, 1984

The first edition of Audre Lorde’s Sister Outsider: Essays and Speeches was published by Crossing Press, Trumansburg, NY, in 1984:

[…] a collection of essential essays and speeches written by Audre Lorde, a writer who focuses on the particulars of her identity: Black woman, lesbian, poet, activist, cancer survivor, mother, and feminist. This collection, now considered a classic volume of Lorde's most influential works of non-fiction prose, has had a groundbreaking impact in the development of contemporary feminist theories.

Mary A. Scott designed the cover, using a photograph of the author by Salimah Ali, and a combination of MGB Patrician (1980) and the sans-serif ITC Benguiat Gothic (1979). In a previous post, I noted that MGB Patrician can be regarded as a compressed relative of (the seriffed) ITC Benguiat (1978). For some reason, the original typeface choices were replaced with ITC Benguiat in the otherwise unaltered design of the paperback cover shown below – with condensed proportions for the main title and Lorde’s name. Unlike MGB Patrician, ITC Benguiat doesn’t offer an alternate S that reaches below the baseline. The initial S was enlarged and stretched to replicate the look. ITC Benguiat is less compact and also lighter in weight. The emulation hence doesn’t have the same impact.

Cover of the paperback edition, Crossing Press, 1984

Title page of the paperback edition, with the same design as the hardback edition, featuring MGB Patrician for the title

Table of contents. The text typeface is Goudy Oldstyle.

ITC Benguiat Gothic in use for the personnel of Focus, an album by American jazz trumpeter Bill Hardman (1933–1990). The typeface choice for the title is a case of visual onomatopoeia: It’s Process, a set of out-of-focus grotesque caps.

Recorded in 1980, the album was released only in 1984 by Academy of Fine Arts Katowice. Art direction by W. Dale Cramer, with photography by Hugh Bell.

[More info on Discogs]

The Cut-In typeface comes with a number of alternate glyphs. For Loretta Trezzo, the stylistic range wasn’t large enough, though. The NYC-based book jacket designer made an ingenious discovery: ITC Benguiat Gothic is another monolinear typeface with rounded terminals, and its weight and proportion match those of Cut-In.

For The Leeshore, Trezzo mixed letterforms from both typefaces. “THE” is in ITC Benguiat Gothic (1979), Ed Benguiat’s contrastless sans-serif adaptation of his famous ITC Benguiat (1978). In “LEESHORE”, most glyphs stem from Cut-In (c. 1973), the futuristic geometric sans designed by Maurice Schlesinger. The high-waisted R with the curved leg, however, is taken from Benguiat Gothic, readily identifiable by its Art Nouveau roots. (The H is customized, O appears to be a repurposed zero.)

The author’s name is composed in a similar fashion: It’s in Cut-In, with interspersed E’s from Benguiat Gothic. The mixing is continued even for the small text in red. Both typefaces were available from Letraset at the time. Trezzo effectively uses the the two rub-down typefaces as complementing stylistic sets.

The Leeshore is the debut novel of Robert Reed. It was published by Donald I. Fine in 1987.

[More info on ISFDB]

The uppercase glyphs of Cut-In Medium (top) and ITC Benguiat Gothic, as shown in Letraset catalogs.

The title page used a typeface that is influenced by Herbert Bayer’s Universal-Alfabet (like Cut-In) and was designed by Ed Benguiat (like Benguiat Gothic): ITC Bauhaus.

The interior pages are set in Electra by William Addison Dwiggins. Roman numerals mark the beginnings of each chapter. No designer is credited for the book interior.

Wordmark for R.K. Basisschool De Bottel (“Roman Catholic elementary school The Rosehip”). Lottum, a village in the Dutch province of Limburg, is famous for its rose cultivation and known as het rozendorp (rose village). Both the logo and the name of the school refer to roses: bottel is the Dutch term for the rose hip, the fruit of the rose plant.

The wordmark uses the lightest and the boldest styles of ITC Benguiat Gothic: Book and Heavy. The ‘tt’ ligature is not included in any of the digital versions of the typeface I am aware of, so it was probably added specifically for this logo.

First album for RCA by American singer and songwriter Robert Ellis Orrall.

Cover concept and art by Stephen Byram and David Gambale (better known for their cooperation on the cover for Licensed to Ill). Artwork by Spencer Drate, with art direction by Another Record Co. The typeface is ITC Benguiat Gothic from 1979, used here exclusively in the bold italic style.

Acrylic paint

Gato Preto (black cat) is a Sorocaba-based brand of paints used by artists in Brazil. It uses ITC Benguiat Gothic and, appropriately, Brush Script.

“Premium” on the packaging is probably meant to emphasize the product’s high quality – there is no “regular” version.

Oil paint

Oil paint

Oil paint

Oil paint

New and more recent version of the product line.

Muttuswami Diksitar was one of the “Carnatic trinity”, the three most renowned composer-musicians of the South Indian classical tradition. On this album, singer S. Ramanathan performs three Diksitar works, accompanied by Alandur Natarajan on violin and Visvanatha Iyer on mrdanga (a type of drum). — Folkways

Album cover for three works composed by Muttuswami Diksitar: Navagraha Krtis (“The 9 Planets”), Caturdasa Ragamalika (“The 14 Worlds”) and Sri Guruna. Released on Smithsonian Folkways 1981. Cover designed by Ronald Clyne with artwork by S. Rajam. The typography uses two weights of ITC Benguiat Gothic (1979) in all caps. The diacritical marks needed for the International Alphabet of Sanskrit Transliteration (IAST) are probably custom additions.

The Sharon Cuneta Show was a Sunday night musical variety show that starred the Philippines’ megastar Sharon Cuneta. The two-hour musical spectacle produced by Viva Television initially aired on IBC (Intercontinental Broadcasting Corporation, renamed to E13 in 1987) from September 14, 1986 to February 28, 1988. After its two-year run on IBC, the top-rated show moved to ABS-CBN where it became a Sunday night staple from March 6, 1988 to June 15, 1997. The show ran for ten years. — Wikipedia

The bumper features ITC Benguiat Gothic in tightly spaced caps.

Men as Women & Women as Men in the Movies

Starring Divine (in Pink Flamingos, 1972)

… and a pretty queer outline version of Kabel

Yet more Benguiat Gothic packaging

Hostess brands are produced in Canada by Saputo Incorporated's Vachon Inc.