Quad movie posters are 30″×40″, versus one-sheet movie posters, which are 27″×40″ (or 27″×41″ for older ones). Quad is the standard size in the UK.

This UK quad (Style B) poster was issued for the release of Barbarella in 1968.

The main heading with the title of the film is typeset in one of the phototype versions of Edelgotisch by either PLINC or Lettergraphics.

Interestingly, it appears to be a heavier weight than Edelgotisch as shown in Schelter & Giesecke specimens, and it is not condensed like the bold version that was later added and eventually renamed Othello.

Without samples of PLINC or Lettergraphics versions of Edelgotisch to reference, it's unclear which version we see here. There’s no record of either PLINC or Lettergraphics adding additional weights to their versions of Edelgotisch.

When the title is written again below the main heading, it’s in the normal style from the early specimens.

While the questions in the speech bubbles are lettering, the credits at the bottom are set in a range of sans serifs, including Alternate Gothic and possibly News Gothic Extra Condensed and Monotype Grotesque or similar.

Judith M. Gerencsér (b. 1944) is a Hungarian illustrator and poster designer who signed her works with “MG Judith”. The shown poster is for Three into Two Won’t Go, a British drama film from 1969. It was screened in Hungary in 1970, under the title Lány az országútról (“Girl from the highway”). From IMDb:

Steve Howard, a British sales executive living in Middlesex, England, begins an affair with a young hitchhiker, Ella Patterson, to emotionally get away from his marriage to his wife Frances. But when Ella moves into a room in Steve and Frances’s house, he must keep the true nature of his relationship with Ella under wraps at all costs.

None of the (larger) text on the poster is typeset. The title is clearly based on a typeface, though: it’s Gerencsér’s casual rendition of Edelgotisch, in tightly spaced and outlined caps, with bold comma-shaped acute accents. Coming from the same hand, it naturally blends with her pop art-style illustration of Ella lounging on a striped couch. Edelgotisch is a hybrid “Neudeutsch” design first cast by the Schelter & Giesecke foundry in 1901, after drawings by German painter, graphic artist, and art historian Albert Knab (1870–1948). The poster designer preserved its idiosyncratic details like the long uptick in L and the one-sided horizontals in Y, and combined it with charming script lettering distinguished by a large x-height.

A copy of the poster is currently available from Comrade Kiev.

The new book by Berlin star chef Tim Raue is dedicated to the classic cuisine of French bistros and brasseries. Published by Callwey Verlag, Rezepte aus der Brasserie (“recipes from the brasserie”) is Tim Raue’s personal journey across Paris, documenting the milestones of his apprenticeship and his everlasting culinary journeys. His love for the brasserie has uncovered historical and modern elements and in the end he looks enthusiastically into the future. Of course he also presents his three Colette restaurants.

The book was written by Katharina Raue, with photography by Joerg Lehmann. It is divided into three main sections: The entrée is an evocative magazine, followed by factual and concrete recipes, concluded with a register of tips and glossary that range from personal to rational. The typefaces are used accordingly: Heike Czerner’s combination of Bridge Text plus Bridge Head and Cera encompasses a range from the atmospheric to the factual. As designer Heike Czerner wrote in an axial:

For me, the Bridge typefaces represented the French typography well, while they are well readable in text and have an enormous formal appeal in large headlines.

The cover features Edelgotisch, which was chosen for its similarity to French Art Nouveau letterforms, like Hector Guimard’s work for Paris Metro made at the beginning of the 20th century. The recipes section additionally uses Obsidian to strengthen the visual connection to the Colette Restaurant’s website.

Flights of Fantasy is a 1968 album by The Ventures. The cover was art directed by Woody Woodward. Wayne Kimbell contributed the illustration featuring a couple travelling on a flying carpet through outer space. The band logo in Europa Grotesque with added arrows was introduced in 1966, see Wild Things!.

The typeface used for the title and the track listing is one of the many faces from the turn of the century that were rediscovered in the 1960s. It’s Edelgotisch, made in-house at Schelter & Giesecke and first cast in 1901. Chances are it was inspired by the success of Eckmann-Schrift (1900). Some sources credit the design to the painter and graphic artist Albert Knab (1870–1929 or 1870–1948). Unlike the name suggests, it’s not a gotisch (textura), but belongs to the Jugendstil branch of blackletter/roman hybrids that were summarized as neudeutsche Schriften.

In 1968, there were at least two phototype versions available; from PLINC (before 1965) and Lettergraphics (before 1968). The latter truncated the name to “Delgo”. Edelgotisch doesn’t have any italics – “Quinn The Eskimo” is simply slanted. In 2007, Tom Wallace of HiH made a digital revival of the original style plus the initials.

Detail. Edelgotisch’s blackletter share is most noticeable in the H and N with minuscule construction and the curved T. While traditional blackletter faces were rightly deemed unsuitable for all-caps settings, this was less clear-cut for the neudeutsch hybrids, see also the ad from 1904 below.

Ad by J.G. Schelter & Giesecke announcing the schmal fett style of Edelgotisch in the German trade journal Archiv für Buchgewerbe in 1904.

By the Berlin branch of importer Groyen & Richtmann, Cologne.

The Virtual Typewriter Museum:

In 1891, George C. Blickensderfer (1850-1917) invented a small portable writing machine that featured the ability to change type styles at will. This unique design formed the basis of a typewriter manufacturing business that lasted almost thirty years

The depicted Model 7 was first introduced in 1897. — Wikipedia