This best-of compilation with golden hits by Charles Weedon Westover (1934–1990), better known by his stage name Del Shannon, was released in 1978 by Pickwick Records. The opening track is his 1961 number-one Billboard hit “Runaway”.

The uncredited cover designer combined Phil Martin’s Introspect with Chelmsford Bold. The latter is a knockoff of Hermann Zapf’s Optima, for the Addresso-Multigraph. It can be told apart by the A with a cusp on the left.

[More info on Discogs]

1972 record by Bahamian guitarist and singer Joseph Spence (1910–1984), released on Arhoolie Records. The cover was designed by Wayne Pope, using a photo by Dick Waterman and the Introspect typeface. The style used with outline for the artist’s name matches the Bold weight of URW’s digitization. The title, set in all caps on a circle and featuring symmetrical AKA sign painters’ quotes, is equivalent to the Condensed Bold. Introspect is credited to Phil Martin and was originally released by Alphabet Innovations just one year earlier, in 1971.

The liner notes by Jack Viertel are set in Times New Roman, accompanied by a photo by Andrew Ltd. Nassau. The track list appears to be set with IBM’s Selectric Composer, at least that’s what the unusual metrics of Univers suggest.

Brand design for Higher-Grñd, a music event series based in Perth, Western Australia. The launch event for the brand featured House and Techno artists The Black Madonna and Maceo Plex.

The design features three typefaces from the 20th century: stretched Compacta for the lineup, small print in Helvetica and the name of the event uses Introspect, a face from the early 1970s designed by Phil Martin. In another post on Fonts In Use with Introspect, Martin is quoted about his design:

I had this crazy idea, can I design a face where some of the lowercase letters touch themselves in places where they are not supposed to? A colleague said, “If you can do that you might want to name it ‘Bad Printing.’ That’s what happens in bad printing, you know.”

Advert in Geomundo magazine, 1978.

Albertsons, based in Boise, Idaho, is the second largest supermarket chain in the United States. The company's corporate name was Albertson’s until 2002, when the apostrophe was removed.

I grew up with Albertsons in Salt Lake City and was fascinated at a young age with the odd, goopy lettering in the logo. The mark is based on Art Nouveau-inspired typeface Introspect, with some minor adjustments and rounded corners. Albertsons was founded way back in 1939, but they must have adopted Introspect sometime in the early ’80s. (Here’s what an Albertson’s sign looked like in 1959 and 1978.)

Over the years — perhaps due to repeated tracing over photocopied originals — it seems that the official wordmark has gotten increasingly soft and mishapen, the letters like gummy bears left to melt in the hot sun. Maybe they should get a copy of URW’s digital version of the font and start over.

Introspect’s designer Phil Martin, had this to say about Introspect in his 2004 e-book Design for (a) Living:

Which leads me to my Introspect series, probably my second best.

I had this crazy idea, can I design a face where some of the lowercase letters touch themselves in places where they are not supposed to? A colleague said, “If you can do that you might want to name it ‘Bad Printing.’ That’s what happens in bad printing, you know.”

I stuck with my idea and released Introspect in 1971.

In some way that no one will ever be able to explain, the design said “food product” to package designers. I soon came to call it my supermarket face. I rarely walked down the isle of a supermarket without some package on one side or the other, flashing its product with the name set in my Introspect.

“Buy me and eat me,” spoke Introspect throughout the food stores of America and beyond. Fulfilling for a designer, don’t you agree?

Even today the Albertson chain of supermarkets and liquor stores carry their logo and other copy in a slightly modified version of Introspect.

Vol. 6, No. 1, 1977

The logo of this long-running publication on pottery is set in Introspect, a typeface released in 1971, the year before Studio Potter’s founding. The first issue used the regular style and later, around 1975, the magazine switched to Introspect Open, an outline version of the typeface, which revealed more of the cover art..

Vol. 1, No. 1, Fall 1972

Winter 1975/76

Summer 1974

Vol 5, No 2, 1976