Pump Bold is a typeface I would normally never consider using. I created this logo in the early 1970s when I was first becoming a self-taught designer. It was done with Letraset rub-down lettering. I liked that the d’s and the p’s were the same letterform, and that the lines could interlock up and down in an interesting way.

Fonts from the Flea Market #1447

Sleeve for a French single by German singer Mary Roos (b. 1949), released in 1971 by CBS Records. Zipper is used in all caps, and Pump Bold in all lowercase letters. Both typefaces were designed by Bob Newman and released in 1970 by Letraset.

[More info on Discogs]

An outstanding use of all-caps Pump Bold in the signage for this community leisure centre, which has recently made the news in the UK, having secured additional funding after escalating costs threatened its closure.

The building was officially opened on September 18, 1987, by HRH Princess Margaret. I would hazard a guess this is when the signage dates from.

From BBC News:

A community leisure centre at “serious risk of closure” has secured a £50,000 emergency funding boost to get it through to the new year.

Dalton Leisure Centre in Dalton-in-Furness, Cumbria, opened in the 1980s, with manager Shaun Fisher saying the centre was doing “really well” and was like a “second home” to some people.

Despite that, repair work and rising energy costs have meant the centre has struggled through November and now wants to raise a further £50,000 to secure its long-term future.

A spokesperson for Westmorland and Furness Council, which funded the grant, said “the council recognises the valuable role that the leisure centre plays in the local community”.

The website of the charity-run (not council owned) centre sadly doesn’t feature any further use of Pump.

Detail

From the Records.christmas website, as reviewed by Johan Palme in 2015:

Sometimes, the world of Christmas records can seem pretty isolated from the rest of music. There are precious few Christmas records that have had a significant, lasting influence outside their own narrow field. I suppose Phil Spector’s Christmas album is one of them, and the original White Christmas, but if you want real impact, it’s hard to overlook how important Willie Colón’s Asalto Navideño has been for salsa. One of the biggest-selling albums of Fania’s golden era, it launched major hits like “Canto A Borinquen”, “Traigo La Salsa” and especiually “La Murga”, one of the most played and sampled salsa tracks of all time

The first volume was released in 1971, followed by Vol.II in 1973. Even well over half a century later, the album cover designs are *not my favorites*. This is entirely down to me, lacking a gene for bland Christmas humor.

The cover of the first volume was designed by Izzy Sanabria, who chose Johnson’s swirly letters for the cover, which mostly revolves around a curious image shot by Len Bauman. It features Santa Claus and a Christmas elf (enacted by Willie Colón and Hector Lavoe, respectively) doing something awkward with a present that doesn't fit in a bag or stocking. The photography is printed in black and white with a hard filter, and colored in red and blue.

The follow-up album (Vol. II, 1973) lacks the names of photographer and designer in the credentials list. Again, Fania Records chose to stage and photograph a comic scene for the cover. This time, both Lavoe and Colón are dressed in elf suits. Lavoe has arrested a (unknown?) gas station employee, with the help of the gun-wielding Willie Colón. The duo is assisted by singer Yomo Toro, dressed as a cheery Santa Claus sans mustache. Information is set in Pump.

The two albums were complied in a single release on compact disc in 2006, in a design by Sanabria pairing a previously unused photo from the 1973 shoot with ITC Serif Gothic and what looks like custom lettering.

[More info on Discogs]

The title sequence used in Gaspar Noé’s Cannes-selected movie Enter the Void has amazed me over the years in terms of typography and graphic design, and thanks to a friend of mine, Puz, (some of) these fonts have been identified.

It was created by Tom Kan, a Japanese designer based in Paris. From Ian Albinson’s interview with Kan for Art of the Title:

The sequence is a typographer’s wet dream (or alternatively their nightmare). How were the various fonts and characters chosen?

The choice of typefaces came rather naturally. After coming up with a large selection in line with the film’s mood, we simply chose the ones that best suited the characters and the personalities of those in the team. Gaspar wanted each title to reflect the person it concerned. It was a beautiful homage and proof of his respect for the members of the team — a way to thank them.

Many typefaces and designs did not get used because the time limit was set — the sound mix was already done and it was impossible to extend. I think we used only 60% of the designs, all in all.

Every typeface used in the sequence seems to be a reference to other famous film title or poster fonts. What was the typeface you selected for your own credit and why?

We appropriated different typefaces, but we never wanted to copy the titles from other films in an obvious way since I thought that would be misleading. For my own credit, I went in many different directions: aged typefaces in metal, Kanji and Japanese calligraphy, techno typography… In the end, I let Gaspar choose and he went with the biggest, most legible type!

Watch the title sequence on YouTube, or right below (epilepsy/flashing lights warning):

Futura Extra Bold Condensed in all caps is the primary typeface for the credits. Here it’s used in combination with Kozuka Gothic for Japanese, alongside some logos.

Music credits include Egyptienne Medium Condensed, Garamond, Eurostile, Bodoni Condensed, Neue Helvetica 93, Futura, and Helvetica Condensed. It’s unclear if the LFO logo uses a font (Disco Deck is similar) or whether it’s custom drawn.

In addition to Futura Extra Bold Condensed, the logos of the production and distribution companies feature Euphoric (Wild Bunch) and Futura Extra Bold (Fidelité).

Producer credits feature FB Agency, Kozuka Gothic, ITC Machine, Futura Display, stretched and slanted Woodblock, and Antique Olive Nord

The names of the co-producers are set in Egyptienne Medium Condensed, Univers Ultra Condensed, Futura, an unidentified font similar to Crown Title, two unidentified stencil(ed) fonts, and Trajan.

More Egyptienne Medium Condensed for Suzanne Girard

Manager credits feature Haettenschweiler, Council, Neue Helvetica Extended (?), Clarendon, Pump Triline, Fiorello, Eurostile, Thorowgood Sans Shaded, and Futura Condensed.

The name of location manager Masahiro Hondo in Glaser Stencil serves as a mask.

Bank Gothic with rainbow glow effect for Lucio Tomaro

Photography credits with slanted Bank Gothic (Benoît Debie), bold italic City with added and extended top and baseline serifs (Gaspar Noé), TFAvian (Akira Kanno), outlined Futura (Yasushi Miyata), Bell Gothic (Jacques Bernier), and Franklin Gothic Extra Condensed (Yves Le Peillet)

Art credits featuring an unidentified blocky unicase face with 3D bevel effect similar to Mark (Marc Caro), FF Vortex (Kikuo Ohta), another unidentified blocky sans (Jean Carrière), and Zeppelin (Nicoletta Massone)

The dripping letters for Tony Crosbie appear to be custom(ized) – Shlop is a similar ready-made font.

Sound and editor credits with Eurostile (Ken Yasumoto), stretched Ironwood (Ryotaro Harada), contoured Nasalization (Claude Lahaye), an upright LCD typeface, probably Digital (Thomas Bangalter), a heavily modified Sonic or another font inspired by the Star Trek TNG logo (Lars Ginzel), Galledis with hyperextended lines (Gaspar Noé), modified SF Archery Black (Marc Boucrot), Zaius, a typeface family emulating the Planet of the Apes movie series logo (Jerome Pesnel), and ITC Machine (Pierre Buffin).

The fonts used for these cards include an unidentified inline face similar to Rubaiyat and Gothicum (Geoffroy Niquet), SF Archery Black (Yann de Cadoudal), OCR-A (Nicolas Delval), Mexcellent (Xavier Allard), fractured caps from a bold sans, possibly Compacta Black (Julien Aullas), Synchro (Bastien Laurent), Helvetica Rounded Bold Condensed (Anne-Sophie Bertrand), and an unidentified squarish sans similar to SB Carbon, Resistance Is Lowered or Apollo Rocket (Loris Paillier).

City Bold, slanted, with double contour and extended baseline serifs, for Tom Kan, Director of Typography

Gaspar Noé in outlined caps from Futura Extra Bold Condensed, without accent on the E

The blackletter typeface chosen for Lucile Hadžihalilović is Linotext (or Mariage, Wedding Text) with some modifications: e and c got bottom serifs and the swash in v was moved from the left to the right stem,

Paz de la Huerta gets various typographic treatments, including Eagle (in a weight between Bold and Black), Futura Dot with Citadel Script, outlined Egyptienne Bold Extended, and ITC Neon.

The Japanese transcription of Paz dela Huerta’s name (パス・デ・ラ・ウエルタ) appears to be Hiragino Maru Gothic or similar, with added contour.

Nathaniel Brown’s name is shown in Pump, ITC Bolt, Aachen, West Barnum Block filled with stars and stripes, and ITC Lubalin Graph Demi.

The fonts chosen for Cyril Roy include Aachen, American Text, Monotype Garamond, and at least two Japanese ones.

The MICR-inspired face used for Olly Alexander is handmade, as confirmed byo Tom Kan. Other fonts include Compacta and all-caps ITC Bolt.

The fonts used for Masato Tanno are Akzidenz-Grotesk Stencil and Ainsdale. The others are yet unidentified.

Gothicum and a (custom?) stencil version of Aachen for Ed Spear, Helvetica Rounded and Neue Helvetica 95 for Emily Alyn Lind, more Helvetica Rounded, an unidentified Japanese font, and Eagle for Jesse Kuhn and Nobu Imai

More ITC Neon and Helvetica Rounded for Sakiko Fukuhara. The bitmap font is 04b_08.

Sarah Stockbridge is set in Haettenschweiler with hyper-extended glyphs).

The names of Janice Sicotte-Beliveau and Stuart Miller are shown in Cooper Black, Impact Wide, Monterey and ITC Officina Serif, Braggadocio, Fiedler Gothic, and Blackoak.

Yemi Carol is presented in Impact Wide, Helvetica Rounded, and a Japanese Maru Gothic. The font shown at the bottom right is unidentified.

Several of the fonts used for Gaspar Noé’s name are yet unidentified. This includes alll fonts in the top row and the left one in the second row, which is similar to Moore Computer and Data 70. Other fonts include ITC Lubalin Graph, Futura Extra Bold Condensed, and Eagle.

The Scottish rock band Nazareth did a cover version of Tomorrow’s “My White Bicycle”, which reached No. 14 in the UK Singles Chart in 1975, staying for eight weeks.

[More info on Discogs]

Pump Light for “technical systems consultants, inc.” (which looks like it may also have been a starting point for the multiline logo), and the stylistically similar Blippo Bold (which appears to be a close copy of Burko Bold) for the title “6809 Mnemonic Assembler”. Note that 6 and 9 have angle-cut strokes.

The Motorola 6809 was a largely 8-bit microprocessor (it had some 16-bit arithmetic instructions). It launched in 1978. Not nearly as popular as its competitors, but it did get used in a few designs, perhaps most notably the TRS-80 Color Computer.

The TSC 6809 Assembler ran from disk or tape on the FLEX operating system, also produced by TSC.

A guitar with eyes, mouth, and horns (of a devil, or of a bull?), plus tightly spaced Pump Bold, for a tour poster designed by Günther Kieser.

Jack Bruce (1943–2014) was a Scottish bassist and until 1968 a member of Cream, who also collaborated with many other bands and artists, including Jimi Hendrix, Lou Reed, Frank Zappa, and Soft Machine. In 1972, he was touring Germany with his own band and material from his third studio album, Harmony Row. The support act mentioned in Franklin Gothic Condensed was Czesław Niemen (1939–2004), a Polish singer-songwriter who also performed at the Rock & Jazz Now! opening show for the Munich Summer Olympics earlier that year.

Anerca, meaning "to breathe" or "to make poetry" in the Inuit language, is a Canadian small press poetry review. Edited by the trio Kedrick James, Wreford Miller, and Adeena Karasick, the sixth issue features contributions from poets Jill Duerr, Tim Lander, Li Min Hua, Jill Macdonald, Stephen Morrissey, and Christine Stewart.

The cover reveals a hand-drawn logo in outline, accompanied by illustrations. These two visual elements are supplemented by decorative stars (*) sparkling around the text, as well as make-shift guillemets using mathematical operators (< >) highlighting four titles. From the very first page, Anerca establishes itself as an experimental magazine, visually playful with its textual content.

The body text is composed of a set of four typewriter typefaces including Courier, and possibly “Imperial Elite” from an Olivetti Lettera 22 model. Two of them remain unidentified: the condensed version on Sessa’s page and the extended one, composing the mailing address on the back cover. They appear to related to Courier. The layout is complemented by Century Schoolbook for author names, along with University Roman, Pump, and Stam (all available from Letraset), used as illustrative elements on single glyphs and short words.

The layout seeks variation and freedom, incorporating unconventional text placements, shapes, alignment, spacing, as well as handwritings. Guided by the spirit of concrete poetry, the design transforms writings into visual language. Form and content are intricately intertwined, offering readers an intellectual and aesthetic experience through the pages.

The entire 6th issue of Anerca is accessible on JSTOR.

Letraset’s University Roman with Italic is used for “transit–ions”. It’s distinguished by circled i dots, which appear to be repurposed from the ring in Å.

The fish monster on the right page apparently is reproduced from pottery by the Mimbres culture.

The single Hebrew letter aleph (א) is from Stam.

The symbol on this page is a glyph of Mayan origin.

The picture on this page appears to be a Maori mask stencil.

The bold geometric sans is Letraset’s Pump.

Poster by Belgian graphic artist and actor Michel Waxmann (1937–2018), announcing J’accuse, a new journal of the Gauche prolétarienne, edited by Jean-Paul Sartre, André Glucksmann, and Jean-Luc Godard. The first issue appeared on January 15, 1971. In May 1971, it merged with La Cause du peuple.

The title in bold geometric lowercase letters is probably custom drawn, modeled after Bob Newman’s Letraset original Pump, which was released in 1970. The weight is closer to Pump Medium or Demi Bold, but these styles weren’t added before 1975 and 1980, respectively. Also, the curves of ‘c’ and ‘e’ here are vertically cut. Burko Super Duper is similar, too.

Waxmann also designed a couple of typefaces. His best known one is Michel from around 1969.

Some of the ultrageometric, spurless “Bauhaus” faces of the late 1960s and 1970s came with a buckload of alternates, see for example Blippo. Pump was not among those. Bob Newman’s 1970 design for Letraset offered no extra glyphs whatsoever.

That didn’t stop resourceful designers to expand on its repertoire. Günther Kieser built some alternate swash caps himself: he unceremoniously extended the R’s leg by attaching the lower part of an L, and engrafted half an S onto the right arm of the Y. The A and S were created in a similar fashion. The hands-on nature and materiality of rub-down lettering facilitated such repurposing and recombination.

For the pictorial part of the DIN A1 poster (60×84 cm), Kieser opted for a similarly playful approach, and doubled Ray Charles’s trademark sunglasses and his smile by means of photomontage.

“The Genius of Ray Charles Show ’71” by the Ray Charles Orchestra featuring the Raelettes (here spelled Raeletts) was presented by Norman Granz. The concert at the Philipshalle Düsseldorf (today known as Mitsubishi Electric Halle) on September 22, 1971, was the only tour stop in North Rhine-Westfalia. The same poster design was used for the show at Musikhalle Hamburg two days later, as well as for the gigs in Frankfurt (October 16), Geneva (Oct. 23), and probably other locations.

Letraset instant lettering sheets with the uppercase letters and numerals (2437) and the lowercase letters (2438) of 72pt Pump

The Dinosaur Review vii, fall 1985

Formerly known as The Camerose Review, The Dinosaur Review is a Canadian publication on contemporary writing. Edited by Robert Kroetsch, Aritha van Herk, and Monty Reid, this journal is published by the Dinosaur Society.

Drawing inspiration from the design of its predecessor The Camerose Review, The Dinosaur Review retains Pump as the title typeface and explores variations in left and right alignment, alternating between uppercase and lowercase lines. It is paired with Caxton for the first seven issues, emphasizing the magazine's previous name.

The Dinosaur Review vi, winter 1985/6

The Dinosaur Review viii, summer 1986

The Camrose Review ii

Photo: Christoffer Leka. License: All Rights Reserved.

Back in the spring of 2016 Kaisa and I had a brilliant idea.

Well, actually we had two brilliant ideas. They were 1. To ride our bikes across North America, from East to West, and 2. To raise money for the trip by making and selling a punk zine about bike travel.

”But why a punk zine of all things? There can’t be much money in that”, you might exclaim. And you would be absolutely right. But doing things that are rational has rarely been a guiding principle for the two of us. So yes, a punk zine it was to be.

Photo: Christoffer Leka. License: All Rights Reserved.

At this point I had also grown somewhat tired of the meticulous perfectionism that came with desktop publishing. There was a small part of the otherwise so very pedantic me that viewed such an ability to fully control the visual environment as both sterile and impersonal. And while I know this isn’t a very original observation to make I still longed for the more tactile ways of designing.

This project offered me the ideal opportunity to make use of all the old type catalogues and printed ephemera I had amassed during decades of unorganized and mostly stochastic collecting and turn them into something new. In the process I also ended up spending a hundred euros on an old Xerox machine our school was going to ditch anyway, and to the dismay of my brother placing it in his garage.

Photo: Christoffer Leka. License: All Rights Reserved.

I began by whipping out my old Letraset catalogue and starting to blow up the typefaces I thought I could use in the project. Turns out this included almost all of the typefaces presented. As for the Letraset catalogue, this was the very book that incidentally ignited my love for typography when I first came across it in 1986. I simply couldn’t believe that so many wonderful letterforms existed in this world. An insight I still cling onto some three decades later.

In making the zine I set up a couple of rules for myself: 1. All type (with the exception of the body copy) would be set by hand, meaning it would be cut and pasted, and 2. The tools used would be analogue (with the exception of a concession I made enabling me to use digital cameras when needed), 3. No rulers or other measuring devices would be allowed, everything had to be eyeballed, 4. Fonts would be used to one’s heart’s content and combined without too much thought or prejudice, and finally 5. Everything would be in black and white, because, well, punk is black and white!

Photo: Christoffer Leka. License: All Rights Reserved.

With these simple guidelines I sat down and began designing, allowing the process and the mistakes I made along the way guide me towards some form of an end result. The fun part was that for once I had no clear picture in my mind of what was to happen. Working in this way was intuitive and liberating, but even more importantly helped me realize how much of the transparency we associate with computer-generated design is illusory. The tool always controls its user whether they are aware of it or not. And if that’s not a punk rock insight then I don’t know what would be!

Photo: Christoffer Leka. License: All Rights Reserved.

While working on the zine we realized that the project wasn’t as difficult or time-consuming as we had thought, so we decided to up our game: There would be a tape to go along with the zine! The problem was neither of us played any instruments or sang. (You’d be hard pressed to find a more musically challenged person than myself!)

So we wrote a ton of letters to bands that we thought would be cool to work with, and to our great joy almost all of them responded with enthusiasm and a promise to participate. This was turning out to be way easier than we would have anticipated!

The full tape can still be listened to over on the otherwise slightly less well-functioning project site, should you feel the need to hear some phenomenal Finnish punk and hardcore.

Photo: Christoffer Leka. License: All Rights Reserved.

Photo: Christoffer Leka. License: All Rights Reserved.

Next question to sort out was who on Earth would still produce tapes in 2016? Well, through some obscure connections we got in touch with a lay Christian preacher who had a small tape production facility set up in his basement in the suburbs of East Helsinki. He would mainly record his own sermons, but he also occasionally sold his services to outsiders. And we were definitely as outsiders as it gets!

And while we’re coming up with new stuff, why not include a poster? And some envelopes to keep all the things together! And some stationery, should we want to write someone. Once again our initially somewhat reasonable project began, somewhat unsurprisingly, to snowball.

Photo: Christoffer Leka. License: All Rights Reserved.

Photo: Christoffer Leka. License: All Rights Reserved.

But all of a sudden it was all done! We printed up some 300 copies of both the zine and the tape, and I don’t think we’ve ever sold out anything we produced as quickly. Yay! Unfortunately our goal to collect funds for our trip was a a non-starter as the production costs far exceeded what we had hoped for.

So realistically we probably ended up losing more money than we made on this venture. But even this is not certain, as we really didn’t keep track of our finances. Still, the whole project should still be considered a grand success, because we had a ton of fun doing it!

Photo: Christoffer Leka. License: All Rights Reserved.

Photo: Christoffer Leka. License: All Rights Reserved.

This swim cap design for the Brooklyn-based team Bedford Bombers was inspired by bodega and food stand signage of the surrounding neighborhood. It combines Pump (with a modified F) and Kalligraphia (with a custom er ligature). “BK’s Best” is added in italic caps from Avenir.

Source: www.abebooks.com Keoghs Books. License: All Rights Reserved.

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

The first British edition of Theodor Reik’s On Love and Lust was published by Souvenir Press in their Condor imprint in 1975, as the second volume in a series of works by the influential psychoanalyst.

While Farrar, Straus and Giroux used the lofty capitals of Michelangelo for their edition, Souvenir Press went for very different typographic direction. For his cover design, Mike Hasted specified Pump. This hefty follower of ultrageometric designs like Harry, Burko and Blippo Black was drawn by Bob Newman and issued by Letraset in 1970. It’s here used in all caps, with (too) wide word spacing.

The author’s name is set in all-caps Monotype Baskerville.

The name of the imprint appears to use Monotype Garamond Italic.

Jacket of the hardback edition by Thames & Hudson, 1980, featuring Gregory in the Pool (Paper pool 4)

The Paper Pools book presents a series of paintings by David Hockney. A well-known series by the painter, it was produced in Los Angeles, California, a location that marks the colors of the series.

From Beaux Books:

An illustrated record of the Paper Pools series of artworks created by Hockney in 1978. The twenty-nine Paper Pool works were made using the paper pulp process, a mix of printmaking and painting, and a new medium for the artist. The images focus on the play of water and light, whilst also recognising the Californian sunshine that Hockney sought. Reproductions of the twenty-nine works are accompanied by preparatory line drawings, polaroids and a text ‘Making Paper Pools’ by the artist.

The book was edited by Nikos Stangos and first published in hardback by Thames and Hudson, London, in 1980, featuring the painting Gregory in the Pool (Paper pool 4) on the dust jacket. Harry N. Abrams published the U.S. edition with a reproduction of Le Plongeur (Paper pool 18). The paperback editions by both Thames & Hudson and Abrams also feature this polyptych painted in 1978 using Hockney’s technique of colored pressed paper pulp. The interest in the medium and type of paper is reflected in the design of the book with an unusual paper, which is similar to the old, rough paper used for some editions of this series.

Jacket of the U.S. hardback edition by Abrams, 1980, featuring Le Plongeur (Paper pool 18)

Back and front cover of the paperback edition by Abrams, New York, again featuring Le Plongeur (Paper pool 18). The same design was also used for the paperback edition by Thames & Hudson, London. Text on the back is set in Univers.

Interior double page spread with a variant on the same theme as the painting used for the cover. This one is titled A Large Diver (Paper Pool 27).

Cover and spine of the U.S. hardback edition by Abrams, 1980. The names of the artist and the publisher are in Pump Triline, the title in Pump.

Title page from the paperback edition by Thames & Hudson, London, with a drawing made in preparation for Gregory in the Pool (Paper pool 4). Here, the title is here set in Pump Triline and David Hockney’s name in the solid style. The roman is Monotype Garamond.

Poke Pachi (Time Trap, Pocket Pachinko) ft. Marvin and Grotesque No. 9

TOMY Pocketmate is a series of mechanical games made for the pocket. They were produced by TOMY Japan between 1975 and 1984, before the success of electronic games such as Game & Watch by Nintendo.

More than 70 games were published worldwide, under different names and appearances. They were known as Pocketmates in Japan, as Pocket Games in the US, and as Pocketeers in the UK.

Lopetz of Büro Destruct is currently designing and editing a book about these toys. In case you are interested in the publication, please get in touch with him. And head over to Flickr to see his little collection of the most cleverly designed Pocketmates.

Shown here is a selection of games with interesting typography. Many of the display typefaces were available from Letraset. The Tomy Pocketmate name and the labels like “Start”, “Goal” etc. are typically in all-caps Futura.

Space Athletic (Moon Shot) ft. Data 70

Catch a Caterpillar ft. Yagi Link Double and ITC Avant Garde Gothic. The top line appears to use Yagi Link Double’s inline.

Galaxian (Star Shooter) ft. Microgramma and Futura Display, with a customized N

Moon Target (Splash Down, Magnet Target) ft. Data 70

Space Invasion (Pocket Vader, Space Invader) ft. Filmotype Quiet and some unidentified Helvetica-like substance

Marbel Catch (Secret Passage, Drop ’n’ Catch) ft. a customized Pump

Election (Time Machine) ft. Data 70

Golf Game ft. outlined Pretorian with a custom M and a mirrored A

Dice Up ft. Davida

Target Game (Target Range) ft. chromatic Profil. The numerals are from an unidentified source.

Frog Fight ft. all-caps Flash and an unidentified Japanese typeface

Hamburger Catch (Burger Catch) ft. numerals from Brush Script. The title is lettering.

Man of La Mancha is a 1972 film adaptation of Dale Wasserman’s Broadway musical based on Don Quixote. Produced and directed by Arthur Hiller, the film stars Peter O’Toole and Sophia Loren.

For this Hungarian poster from 1973, István Bakos shows Don Quixote’s head floating over the iconic windmills. Above the illustration, the typography is set in two typefaces that were both designed by Bob Newman for Letraset: Manuscript Capitals (1972) and Pump Bold (1970) – with Dulcinea’s face tucked between the names. The contoured caps are used with both forms of A and partly overlap; the ultrageometric sans is used with barely any word spacing.

First single from 1971 [More info on Discogs]

Alice is the artist’s name of Joyce Evadney Ploquin. Originally from the West Indies, the musician moved from London to Paris to record her soul music. [Ungawa] In 1971 and 1972, Epic Records released two singles in their Gemini and AKT series.

The extrabold left-heavy caps are from a typeface that’s shown in Berthold’s E1 catalog from 1974 as Jumbo, in one extended all-caps width plus an oblique. In their E3 from 1982, it’s credited to Gustav Jäger, 1973. At least the date can’t be right – maybe it refers to a revision – as Jumbo apparently was available already in 1971. I can imagine its name was inspired by the introduction of the first “Jumbo Jet”, the Boing 747, in 1970.

While the word “Alice” is shown in horizontally stretched letters, the song titles on the first single were squeezed to around 70% of Jumbo’s original width. The robust design can withstand such a treatment better than some others, but it still shows in the curvature of letters like S, G, D, P.

Second single from 1972. The track names are set in all-lowercase Pump. [More info on Discogs] A third single followed in 1973, now with Bookman for the name (not pictured here).

Les Louis Boys are an iconic Franco-Manitoban music group formed in 1972 in Winnipeg. It has played countless times at the Festival du Voyageur. Two albums were recorded by the now-defunct Century 21 Studios.

The past and current members are Edwin Prince, Gabriel “Moose” Masse, Michel “Butch” Boucher, Marcel Vernier, Paul Belanger, Paul Heppenstall, Marc Allard, Pierre Morier, Marc D'Eschambault, Marcel Druwé and Jacques Dorge. But there are nine members according to their album produced in collaboration with Les Productions Jolly Ltée (aka Jolly), which was recorded in November of 1976 and released probably in the same year. The picture above is the second edition released in the late 70s or early 80s (the sticker uses Letraset Pump).

The cover of this album, printed in brown and scarlet red spot colors, uses Gill Sans Extrabold for the title in a tightly spaced setting and with an elongated letter l, with Univers 75 as well for the tracklisting. The Festival du Voyageur logo is in a predigital version of Bulletin Script Two with added distortion.

The body copy on the back and the identifiers appear to be in Theme, a typeface created for the IBM Selectric typewriters between 1968 and 1972.

[More info on Discogs]