Abilene FLF

The second season of Batman: The Animated Series (or The Adventures of Batman & Robin, as it was temporarily known) differs from the first season both in only consisting 20 episodes (versus the first season’s 65), and in using digital fonts (where the first season used dry transfer lettering).

Times Bold

Times New Roman Bold (compare the counter of the R in “Trial” to that of the one in “A Bullet for Bullock” above)

Flambard (or Studio?), heavily squeezed

Murray Hill

Unidentified

Abilene FLF

Times Bold

Chevalier

Univers 49

Filmotype Hudson

Chevalier

Ticonderoga

Plakette

ITC Ronda

Florentine

Stencil

Ad Lib

Helvetica

Premier Lightline

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.flickr.com Uploaded to Flickr by Thomas Hawk. License: CC BY-NC.

This (broken) neon sign for the Bel Air Shopping Center sign in Jackson probably dates from around 1960. “Bel Air” is modelled after Murray Hill. The upright script was designed by Emil J. Klumpp and first cast by ATF in 1956. The squarish sans-serif caps for “Shopping Center” are probably custom drawn.

Located between US 80 and MS 18, the shopping center is permanently closed as of 2024. It can be seen on Google Street View.

Source: www.flickr.com Uploaded to Flickr by Thomas Hawk. License: CC BY-NC.

All-lowercase Murray Hill (ATF, 1956) for the cover of The Girls (RKO Records, 1958), an album with songs performed by Fran Warren (1926–2013), Polly Bergen (1930–2014), and Lynn Roberts (1935–2017), accompanied by the Joe Leahy Orchestra and Chorus.

[More info on Discogs]

Fanta’s Zine was the official organ of the Cartoon/Fantasy Organization. This is the second issue, edited and published by Fred Patten from Culver City, and printed on the LASFS Rex Rotary mimeograph, 19 October 1979. The cover illustration is by Chris Balduc, inspired by the “Kimba, the White Lion” episode. Interior illustrations by Wendell Washer and Mark Merlino.

The front cover kicks things off typographically with Legende, used here for the name of the publication.

The following page uses Huxley Vertical for its header, with the bodies in Orator (IBM) and Courier.

The Space Giant program titles page features an unidentifiable seriffed font for the summary of the show.

“A Comment to Tom Minton” uses Futura (or a very similar clone of that font), an all-caps Murray Hill, and Prestige Elite.

I can’t exactly identify the face used for the editorial, but some of its letterforms could give out a few indicators.

Murray Hill is an unconnected upright script designed by Emil J. Klumpp in 1956 in two weights, originally as metal type for ATF. Here the Bold is used with tight spacing and a type size gradient for the cover of More, More, More by the Andrea True Connection. The disco album was released by Buddah Records in 1976 after the title song became a major hit on dancefloors as well as in the charts. The swashy A is either an alternate added in a phototype version, or a modification.

Creative direction by Milton Sincoff, with photography by Joel Brodsky.

[More info on Discogs]

PrintMaster title screen

PrintMaster was published in 1985 as a competitor to Broderbund’s The Print Shop, who successfully sued for copyright infringement. PrintMaster had a number of advantages over The Print Shop, namely mixed-case fonts and a calendar function (which The Print Shop didn't until The Print Shop Companion). Currently, Houghton Mifflin Harcourt owns the intellectual property for both Print Shop and PrintMaster.

All the fonts in the 1985 release of PrintMaster appear to be inspired by existing typefaces, including foundry type and designs for transfer lettering:

• DeVille — derived from Murray Hill
• Scribe — Old English
• Office — similar to Helvetica or Unica
• Hampton — Belshaw
• Times — Times or Times New Roman
• Western — derived from Playbill, less condensed
• Utopia — Futura Black (uppercase) and Chaillot (lowercase)
• Computer — Data 70

DeVille and Scribe, from the manual

Office, Hampton and Times, from the manual

Western, Utopia and Computer, from the manual

Poster and banner for La Cage aux Folles — Ein Käfig voller Narren at Bar jeder Vernunft, Berlin