From Wikipedia:

“Mis-Shapes” is a song written and released by English alternative rock band Pulp from their fifth album, Different Class (1995). Lyrically inspired by Cocker’s experiences socializing in Sheffield as an outcast, the song features lyrics that call for misfits to unite and take over. This lyrical theme would make Cocker uncomfortable with Pulp’s growing popularity with “townies” after the song’s release.

“Mis-Shapes” was released as a double-A sided single with “Sorted for E’s & Wizz”, the second single from Different Class after “Common People.” Like its predecessor, the single reached number two in the UK charts and has since seen critical acclaim.

[More info on Discogs]

Typography-wise, the single follows the choices made for the album, with Chromium One for the band logo (also by The Designers Republic) and Windsor Extra Bold Condensed. The palette is completed by italic Poster Bodoni and Helvetica.

The Berkeley Tribe is possibly the most famous “New Left” newspaper. Centered in Berkeley, California, it (like other publications) focused on revolutionary subject matter (Black/Women's Liberation, Gay rights, Antiwar Movements, etc.). Their headquarters were at multiple times bombed or shot, with the FBI surveilling their operation.

The masthead, like with many famous magazines, such as TIME, is a custom lettering.

Crediting designers for each issue can be tricky, as intimidation from attacks and police prompted staff to remove their names from the masthead. However, East Bay Media is noted to have served the tribe's publishing and at least some graphic design from 1971, the time of this issue here (it is possible other Berkeley area shops filled a similar role during the paper's run, too).

Early covers and hand lettering are credited to designer Gary Grimshaw, who possibly did not work on this particular specimen.

Shown here are the cover and a selection of eleven of the twenty-four pages, featuring most of the display fonts used in the editorial design at least once. Text is set in Univers and Century Schoolbook.

Headlines in Dom Casual (“The Unknown Defendant”) and Clarendon (“Justice We Don’t Expect From You”)

Publicity Gothic (“No Future Rev No Family”) and Clarendon

“Weather Sister Ripped Off At Flicks” is in Roberta.

Headlines in Antikva Margaret (“U.S. Bombs”) and Windsor Elongated (“Thoughts On Being Human”)

Grotesque No. 9 for “SIERRA” and “feedback”

Franklin Gothic for the “Pusherman” headline, De Vinne for “Human Culture Time-Line”

Cooper Black and Haas Inserat Grotesk for “War-Season’s Greetings from JAPAN” . The ad below features two weights of Blippo (equivalent to Burko and Harry) and City.

Profil for “OKINAWA”. The ad for Midnight Films uses Mistral.

More Inserat-Grotesk for “The Sacred Tree is Dead”. Times New Roman is used for the poem at the bottom right.

The “KILL ’EM” headline is set in Windsor. Smoke and Futura feature for the Free Store ad and Helvetica for the one by Sound City.

The “Masturbation” headline is in Jay Gothic. Fonts used in the ads include Flash (“Native Son”) and Commercial Script (“MANDRAKE’S).

Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? is a British musical film from 1969. Anthony Newley (1931–1999) co-wrote the script, served as director, played the lead role, and composed the score. From Adam White’s 2017 article for the Telegraph:

Famed at the time for its ludicrously unwieldy title, 1969’s Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? is a surrealist sex-drenched disaster that could only ever have been made in the more free-wheeling Sixties. Released to significant controversy for Universal Pictures and given an X rating, it was dubbed “an act of professional suicide” by the New York Times.

The cover of the soundtrack album by Kapp Records is an adaptation of the movie poster, with illustration is by Robert Tanenbaum. It uses typefaces that all were available from Californian phototype company Lettergraphics. Most of the text is set in various widths and weights of Microgramma – at Lettergraphics, Microgramma and Eurostyle [sic!] were distinguished solely by whether the font was all caps or had a lowercase, without differences in the design. The title is a potpourri of Sans Shaded, Bodidot Flair (a copy of Pistilli Roman, with swashes), a generic sans in italic caps and small caps, Windsor Contour, Torena Italic Flair, Holiday, Groovy, and Gras Serrés Italique.

I began collaborating with Sean Mason on the design of his sophomore album in October 2024. He reached out to explain his plan for a complete rebrand of his visual identity. Sean is a visionary Grammy-nominated jazz pianist, composer and bandleader, and a recipient of a Bessie Award and Bistro Award.

The challenge was to translate the pianist’s spiritual and creative rebirth into a singular visual identity; to visually represent the joy, but also the difficulties, of that process.

The primary inspiration was the Ivy aesthetic, championed by Miles Davis in the 1950s and 60s. Sean attended Juilliard and moved to NYC in 2018. He then came back to his roots, his hometown of Charlotte, North Carolina. His music is deeply rooted in the cultural heritage of the South. Thus, it felt fitting that the album packaging hinted at the colors of the American flag. Sean’s musical style is very reverential, often paying homage to old school jazz, hard bop and gospel music. I wanted the visual aesthetic to mirror his respect for the jazz tradition. Therefore, in all the promotional materials and the album packaging, I incorporated typographic references ranging from the early 20th century to the 1970s.

[More info on Discogs]

Front and back cover

Inner gatefold

Inner sleeve

These sheets include logos of publications that reviewed A Breath of Fresh Air, some of which use additional fonts like Gill Sans, Clarendon, and Frutiger that are not part of the album design.

Byte magazine, issue #4, December 1975

Bill Godbout was something of a pioneer in the early microcomputer movement of the 1970s, and his firm Bill Godbout Electronics was a commercial vehicle selling discount and surplus electronics and microcomputer components. Bill Godbout Electronics was a regular advertiser in the early issues of the seminal BYTE magazine. Issue #4 is the first Christmas issue and features a 2-pager from Bill Godbout Electronics that mixes a large number of fonts in a style typical of both this era and this advertiser.

“Bill Godbout Electronics” is in Wexford. I think the “CAVE grafix” is lettering, but the first word may be based on Koloss (see further below). “Wish you a joyous holiday season” and so in is in Davida. “If you are into toyful tinkering” and so on is in outlined Cooper Black.

“Son-of-a Cheap Clock” is in Tonight, and above it “We have a successor to our very popular ‘Cheap Clock Kit’!” is in Script (for the IBM Selectric; see also the body fonts, glossed below). The price, $14.50, is in Umbra. Both Script and Umbra are used on the following page.

Windsor is used for “they also make great gifts” (on the curve) and the following text. “Electronic Projects for Musicians” is Reklameschrift Herold. Below the decorative band, “EROM board special offer” is in Helvetica, outlined and with a South shadow.

“4K x 8 pre-programmed for 8080” is in an outline style of a somewhat Microgramma-like font that I couldn’t identify that is also used on the second page.

On the second page, “Bigger & Better” is in Skin & Bones (using two alternates for G, but not for E). “Pace 16 bit chip set” is in Koloss. “1 Pace 16 bit CPU” and other text on and under the curve is the previously mentioned and unidentified outline Microgramma-lookalike.

“Pace Data Packet” is Advertisers Gothic (using the A without a top flag). “4K x 8 RAM kit” is in Umbra. “EROM board kit” is in Rock Opera. The “8K x 8” and so on again is in Wexford. “There’s more ... We have” is in Monogram.

The body text (and some secondary and subtitle text) is typewritten in a variety of fonts, and I did a much better job of identifying those, all available on the IBM Selectric:

On the first page the text for the clock, starting “BIGGER DIGITS” is in Artisan. “By Craig Anderton” (the author of “Electronic Projects for Musicians”) is in Orator (probably, in any case Orator is used on the next page).

The text for the Craig Anderton blurb is Adjutant, I think. Delegate and Adjutant are very similar with only slight differences in weight and thick/thin contrast, but they have different pitches: Adjutant is 12 characters per inch, and is tighter than Delegate at 10. The text block at the bottom of the first page, starting “By special arrangement”, is in Bookface Academic.

On the second page, below “Pace 16 bit”, the text starting “This chip set gets you into PACE” is in Manifold. The word “PACE” itself is in another font (the Selectric had a feature where you could switch type-balls and still retain the cursor position), possibly Pica. Manifold is again used for the bottom paragraph starting “READOUTS, LEDS, TRANSISTORS”. Below “Pace Data Packet”, “Since we started advertising” is Orator. Below “4K x 8 RAM”, “Note the lower price” looks like Prestige Elite.

Below “EROM BOARD”, the text starting “Now you can stuff up to 8K” initially had me stumped, but I think I have tracked it down. The small caps in place of little letters, made me think of Orator, which it isn’t; the o is distinctly squaroid and reminded me of the output of the IBM lineprinters, such as the 1403. It turns out that the IBM Selectric has a typeball called AN3/360 which the 1972 brochure specifically says matches the AN3 style available on IBM’s lineprinters.

At the bottom of the second page, to the right of the wordmark, the payment and terms text starting “YOU MAY PLACE MASTERCHARGE® OR BANKAMERICARD® ORDERS” is in Script.

Ragtime

From Paul Dini & Chip Kidd’s Batman Animated (1998):

These imaginatively rendered title cards were a high point of each Batman episode. While some (like “Harley’s Holiday” and “Time out of Joint”) were character portraits, most often the cards depicted an emotional impression of the given episode’s theme. According to Eric Radomski, who designed many of the cards, “Going with the overall retro-forties feel we were giving the show, we wanted to treat the episodes as mini-movies. The title cards allowed us to create great drama in a very subtle fashion. It was a process of trying to capture what the overall episode was, and not just show a scene or moment from it.”

Most of the title cards of Batman: The Animated Series’ first season (which first aired in 1992–1993) use fonts that were available from Letraset.

See also the post on the series’ logos.

Engravers Old English

Pendry Script

Rundfunk

Commercial Script and Compacta Italic

Pendry Script

Cable (Kabel) Light

Univers 49

Brody

Univers 49

Peignot Medium

Alpin Gothic

Plaza

Pendry Script and Compacta

Windsor Bold Outline

Compacta

Plaza

Peignot Medium

Brush Script

Microgramma Medium Extended

Mistral

Compacta Bold Outline

Univers 49

Goudy Handtooled

Mistral

ITC Benguiat

Brody

Univers 49

Plaza and Univers 49

Mistral

Laser

Univers 49

Stencil Bold

Univers 49

Univers 49

Papyrus

Berling Bold

Mistral

Mistral

Ragtime

Berling Bold

LCD Outline

Cloister Bold

Shatter

Helvetica Extra Light and Medium

Goudy Extra Bold

Freestyle Script and Flash

Plaza Inline

City Medium

Murray Hill Bold

Plaza and Univers 49

Ragtime

Tarragon

Compacta Outline

Titus Medium

Augustea Open

Cortez

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, front cover

In July 2016, Australian electronic group the Avalanches released their second album, Wildflower.

While the front cover has no type at all, except for a sticker with Jersey M54 for the band name, all-caps Arnold Böcklin for the album title, and ITC Franklin Gothic for additional text, the typographic party takes place on the back: it features a different style for each track on the album, with embroidered letterforms. Most of the song names are based on fonts, with or without modifications.

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, back cover

The Leaves Were Falling: Brush Script
Because I’m Me: handwriting?
Frankie Sinatra: Benguiat Caslon (or a digital version thereof, like Emfatick NF)
Subways: Arial Bold
Going Home: Gillies Gothic
If I Was A Folkstar: West Barnum
Colours: Electric Circus
Zap!: (similar to) Strand Midnite
The Noisy Eater: Baby Teeth
Wildflower: Arnold Böcklin
Harmony: Tango
Live A Lifetime Love: Allura
Park Music: ITC Avant Garde Gothic (?)
Livin’ Underwater (Is Somethin’ Wild): loosely based on Williamson Skidoo (?) and an unidentified script
The Wozard of Iz: Pretorian and Futura
Over the Turnstiles: Motter Femina and Turnpike or similar
Sunshine: Broadway
Light Up: lettering?
Kaleidoscopic Lovers: Commercial Script
Stepkids: Kabel Black
Saturday Night Inside Out: Druk Condensed or similar?

The headings for the sides of the vinyl version are in Windsor Extra Bold Condensed.

The art direction is credited to Chris Hopkins at Lost Art and band member Robbie Chater. Hopkins also provided design and illustration, the latter together with Emi Ueoka. Fergadelic (Fergus Purcell) did the butterfly logo. Kris Vierra took care of quilting and textiles.

[More info on Discogs]

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

CD version, front cover

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

CD version, back cover

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more octagonal caps

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve ft. a naïve sans and script lettering based on Kalligraphia

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more Baby Teeth and lettering similar to Williamson Skidoo. The Biz Markie photo is by David Corio.

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

Sheet with five promo stickers

Source: lost-art.com License: All Rights Reserved.

Vinyl record label

For the release party of music artist Goldielocks—following her breakthrough year and standout success at UMK—we designed a poster built around her primary typeface, Windsor Roman, with Windsor BT’s Light Condensed for the smaller texts. As the event took place close to Halloween, the concept introduced a subtle, atmospheric Halloween influence layered onto the official promotional and press imagery for her debut album, Two of a Kind. The album marks Goldielocks’ emergence as one of Finland’s most promising new international pop artists.

Graphic design, typeface visualization, and album visuals were created by Jirka Väätäinen, with photography by lumiilo. The typeface for the album titles and tracklist is Podium Sharp, which name suits the stage-craving aura and danceable mood on this album and cover.

From the Melsonian Arts Council:

Benighted Betrothal is an old-school adventure for 3rd-level parties of wandering adventurers, compatible with the Basic and Expert editions of D&D, and any modern simulacra such as Old-School Essentials, Basic Fantasy RPG, and Labyrinth Lord. […] Written by Sándor Gebei, illustrated by L.F.OSR, Odysseus Jones, & coloured by Peter Onyschuk

The game was crowdfunded via Kickstarter in December 2023.

While the title is in Lithops, the author’s name is set rotated in MVB Sirenne Italic.

The book interior combines headlines in Windsor with a yet unidentified text typeface.

Windsor was first issued around 1905, and rediscovered in the 1960s. Here it can be seen on the cover of Insight, the third studio album by the Mike Mainieri Quartet led by vibraphonist Mike Mainieri (b. 1938), released in 1968 by Solid State Records.

Alex Gnidziejko designed the album artwork, featuring a large eye decorated with leafwork and flowers. A fisheye photo of the quartet is shown inside the dilated pupil.

[More info on Discogs]

Never has the Lancashire mill town of Ashton-under-Lyne looked so London Transport! More of that later. For six nights, commencing Monday, 11 March 1935, the town’s active Operatic Society staged their annual production; Rio Rita at the New Empire Theatre. As well as information as to the Society, the cast and plot, the souvenir programme includes a number of adverts for local concerns who were supporting the event. The Society’s first production had been in 1901 and, war years apart, a production had become an annual event.

The programme itself had a cover designed by John Albinson of neighbouring Oldham and the programme was also printed at the company’s Chapel Street Works in the town. Albinson’s had obviously availed themselves of typefaces from the Sheffield-based Stephenson Blake (SB) as many of the adverts are set in or use Granby typeface and indeed a few use the less common Granby Inlined.

I mentioned London Transport (LT) and that is because of the link between the capital’s transport undertaking, their Johnston typeface, and SB’s Granby; Granby was an effective copy of Johnston that was only available for LT’s use in wood block. The availablility of an effective Johnston “look-a-like” as a metal typeface was useful for LT and it was also available commercially. It was probably this utility for LT that allowed SB to issue it. It is also true that when issued in 1930, Granby was a useful competitor for SB to the new Gill Sans typeface.

This advert is for Dodd’s of neighbouring Oldham and is for cotton machinery; Oldham was one of the world's biggest cotton towns amongst the many other Lancastrian boroughs whose wealth had been built on the textile trades. By 1935 the Lancashire industry was struggling for a variety of reasons and there would have been plenty of second-hand and reconditioned machinery for preparing, spinning and weaving cotton. Oldham was also noted for the various engineering companies such as Dodd’s who specialised in the textile machinery trade. The advert obviously uses old blocks, such as for the factory, as well as the newer Granby Inlined for the titling. Additional typefaces include Spartan, SB’s version of Copperplate Gothic; Winchester, their follower of Cheltenham; and Saint George a.k.a. Windsor Light.

A reminder of the days of urban farms and dairies. A 1912 advert in Wimbledon. Official Guide 1912 for Manley's Model Dairy who appear to have been based on Revelstoke Road in the growing suburbs and on a farm, Wimbledon Park Farm or Ashen Grove Farm, that may have been largely subsumed into Wimbledon Park.

Even by 1912 the ‘big’ regional and national dairy chains, who supplied milk in bulk to such urban areas, were winning out so it is interesting to see an example of a diary that obviously still kept its own cows and was billed as a cowkeeper and dairyman. Manley’s still appear in official records in 1924/25 so appear to have survived WW1. The whole area, including the wider Wimbledon Park area, is an example of the encroachment of housing on what had been a major estate sold for development and here the local Council, in the early years of the twentieth century, stepped in to try and limit development, the loss and preservation of open space.

The advert takes the form of a ‘hand’ as mentioned in the text, ‘holding’ a view of the farm and a milk cart. Text inside the ribbon and the scroll is hand-lettered. The two lines in red are typographic, and feature two typefaces from Stephenson Blake’s library: Windsor Condensed and Flemish Expanded. The bold caps for “The only cowkeeper” are from a slab serif that’s not identified yet.

Regency Leisure Arcade is a video arcade and pool club on 63-64 West Street in Brighton, England. The marquee lettering uses caps from Windsor.

Google Street View photos indicates the sign was erected some time between August 2012 and May 2014, replacing an earlier sign of 3-D letters, also in Windsor.

Some time between August 2012 and May 2014 the current sign replaced this earlier one. It was also in Windsor, but used 3D letters with a chrome face and a red extrusion. Note the unusual CA ligature, which helps to avoid an unpleasant gap between C and A. This photo is from Google Street View, dated April 2009.

Orka Beverage Company aims to redefine the energy drink landscape with its innovative cafeined and lightly flavored “energy water”.

Notably, the Orka logo is based on a bold weight of Windsor (or a version thereof), with modifications. The brand’s visual identity is enhanced by the use of TWK Lausanne, a sophisticated sans-serif typeface designed by Nizar Kazan and published by WELTKERN®. This font is utilized across all textual elements, from headlines to body text, ensuring clarity and elegance.

This album by comedian Flip Wilson with special guest David Frost contains material from his TV show on NBC, The Flip Wilson Show. It was released in 1970 on Wilson’s own Little David Records – named after his son David, who in turn was named for the biblical David.

While the title and subline are set in Windsor Bold, “What You See Is What You Get” – a phrase popularized by Geraldine Jones, a recurring character played by Wilson wearing women’s clothing – uses an italicized style from D’Amico Jamian. This casual animated sans was drawn by James D’Amico for Photo-Lettering in the early 1960s. The heavy grot on the sticker is Folio extrafett.

The shown cover appears to be a variant – other versions show light bulb lettering spelling out “FLIP”. The packaging concept for the die-cut gatefold cover is by Album Graphics, Inc. Norbert Jobst takes credit for the cover design including the photography. Art direction by Sid Maurer.

[More info on Discogs]

Every year the music blog New Commute asks graphic designers from all over the world to make some artwork depicting their top five albums released in the passing year. For this project, I scanned in some of my personal matchbook collection to rework my favorite albums into fake, long forgotten matchbooks. Using a wide array of my personal favorite typefaces from across eras I was able to put together this depiction of my favorite albums.

Source: www.amazon.com License: All Rights Reserved.

The Jacket I Wear in the Snow (1989)

From Something About the Author, Vol. 134:

Neitzel is best known for her series of "rebus and rhyme" books, illustrated by Nancy Winslow Parker. Together the two have produced a number of picture books that combine cheerful rhymes about common situations, such as getting dressed to go out into the cold and packing for an overnight stay at Grandma’s, with rebus illustrations, so that pre-readers can begin to practice word recognition and enjoy their success at “reading” pictures.

Of the nine rebus books Neitzel (1941-2023) and Parker (1930-2015) created, the first eight follow a similar typographic pattern: Windsor is used on the cover and title pages for the book title and the names of the author and illustrator, but then all other text (with the exception of some type incorporated into illustrations) is in Seagull.

Source: archive.org License: All Rights Reserved.

I’m Taking a Trip on My Train (1999)

Source: archive.org License: All Rights Reserved.

The Bag I’m Taking to Grandma’s (1995)

Source: archive.org License: All Rights Reserved.

I’m Not Feeling Well Today (2001)

Source: archive.org License: All Rights Reserved.

Our Class Took a Trip to the Zoo (2002)

Source: archive.org License: All Rights Reserved.

We’re Making Breakfast for Mother (1997)

Source: archive.org License: All Rights Reserved.

The inner flaps of The Dress I’ll Wear to the Party (1992)

Source: archive.org License: All Rights Reserved.

The House I’ll Build for the Wrens (1997)

I was prompted into finishing this post which has been long-sitting in my drafts by Paolo Amoroso’s reminder that Common Lisp: the Language was published 40 years ago. Common Lisp is a programming language and was an attempt to synthesize out of the many similar-but-not-compatible languages in the Lisp family a ‘common’ Lisp which would help programmers, vendors, suppliers, textbook writers, and so on.

Affectionately known as CLtL (the 2nd edition being known as CLtL2), Guy L. Steele’s comprehensive work was a standard reference for Lisp programmers and helped organize the multi-year effort to make Common Lisp a standard. Some of the languages on which Common Lisp was built and drew (variously known as Lisps or Lisp-like languages) are featured on the cover of CLtL in Windsor’s Outline style. Common Lisp as a language was successful to the extent that of those, only Scheme and Common Lisp survive today in any recognisable form.

The first edition cover is entirely typographic, using Eras for author (in white) and the title (in teal and white), with “COMMON” being made large, and “LISP” very large. All on a silver background. The book design is credited to David Ford.

The second edition replaces teal with red, and silver with pale-cyan. Gone are the other Lisp-like languages (not just a whimsical design choice, by 1990 when the 2nd edition was published, Common Lisp had essentially won: every major Lisp vendor had or claimed to have an implementation of Common Lisp). The new graphic is an illustration by the author of the mathematical function (z-1)/(z+1) in the complex plane. There are similar graphics of several functions in the Numbers chapter. The graphics are all produced directly from PostScript programs and incorporated directly into the digitally produced camera ready copy (from the Colophon); the PostScript programs themselves are generated by a Common Lisp program which is listed in the book.

The colophon of the second edition also goes to some lengths to document the tweaks made to Letter Gothic, used for displaying code: the accents grave, acute, circumflex, and tilde have been borrowed from a larger font-size and shifted; /hyphen and /equal have been replaced or redrawn; and in #, /numbersign, the gap has been eliminated. The programming language Common Lisp has a fairly high frequency of such characters, and some of them can be seen in the program fragment.

The colophon also attests to the second edition being printed on a Linotron 300 (but sadly, not who designed the covers).

Detail of interior page showing a fragment of the Common Lisp program used to generate the PostScript program used to generate the diagrams (as seen on cover).

Of Orc-Rags, Phials, & A Far Shore: Voices of Paradise in The Lord of the Rings by Bruce Palmer. T-K Graphics, Kansas City, Missouri, 1976. The title is in Book Jacket by Ursula Suess, used with various alternates, including two forms for n s A C L P R S. The price is added in Eurostile Bold.

These four pamphlets were issued by T-K Graphics between 1974 and 1977. The covers are printed in black on colored paper and feature typefaces that all seem to stem from the catalogs of VGC, ITC and Letraset.

Fanlore has a page about this publisher:

T-K Graphics was a distributor/retailer of pro books, but it is more well-known for publishing fan-created chapbooks and other amateur zines.

It was based in Baltimore, Maryland was founded in the early 1970s, perhaps earlier.

Via jell-o biafra says, a great (but sadly dormant) Tumblr for all things pulp, pop and underground.

The Drama of Ray Bradbury by Ben P. Indick. T-K Graphics, 1977. [More info on ISFDB] The title uses outlined caps from ITC Souvenir, with a timid swash initial. The author’s name is in Peignot, the price info in Book Jacket.

Middle Earth: A World in Conflict by Stephen O. Miller, with illustrations by James Shull. T-K Graphics, 1975. [More info on ISFDB] ITC Ronda is used in lowercase letters from the Bold, with alternates for a e r. The other fonts are Eurostile Light Extended, Grotesque No. 9 Italic, Windsor, and ITC Bolt.

An Arthurian Concordance by Dennis Lerond, with illustrations snagged from Aubrey Beardsley. T-K Graphics, Baltimore, 1974. [More info on ISFDB] Libra is paired with wide caps from Folio. The author’s name is added in Univers Condensed, the price info appears to be in Venus Extended.

Prolific cover designer Loring Eutemey used tightly spaced Windsor Bold with alternating word colors for Live and Lively. This pseudo-live album by Joe Tex was released in 1968 by Atlantic Records.

Don Bronstein took the cover photo. “Dial Records Series” is in condensed caps from Eurostile. The sticker highlighting the included hit “Skinny Legs and All” features Inserat-Grotesk (with a plain italic grot in all caps).

[More info on Discogs]

The back cover typography combines Helvetica Black with Trade Gothic. Steve Byrd’s liner notes are set in Melior.