From Hard Werken. One for All. Graphic Art and Design 1979–1994 by Ian Horton & Bettina Furnée (Amsterdam, Valiz 2018):

This cover was heavily criticised at the time for the playful and, in book-publishing terms, subversive manipulation of traditional letter forms, and for the use of metal foil which contemporaries felt was a particularly vulgar treatment for a literary work, reminiscent of trashy American fiction. In a newspaper article Hub. Hubben even suggested that Hadders, who he thought already deserved five years in prison for ‘damage done to the retina’ with previous designs, should now have his sentence increased by a year for the cover of De naam van de roos. And that for good measure Hadders should be muzzled. And that Hubben regrettably could not read the book, as he would not buy it for the cover.

The “traditional letter forms” here are of course Michelangelo by Hermann Zapf, while another Zapf typeface, Melior, is used for the publisher's name.

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

Farrar, Straus and Giroux, undated

On Love and Lust: On the Psychoanalysis of Romantic and Sexual Emotions is a book by Vienna-born psychoanalyst Theodor Reik (1888–1969), who trained as one of Freud’s first students.

From the back cover:

On Love and Lust brings together Theodor Reik’s major writings about the hidden nature of masculinity and femininity in normal and abnormal sexuality, in romantic love, in marriage, in parenthood, in bachelorhood and spinsterhood. The inclusion of important material from his long-out-of-print A Psychologist Looks at Love makes this one of the most valuable of his writings.

Wikipedia adds:

Reik presented a forceful criticism of traditional Freudian theory in A Psychologist Looks at Love (1944). Freud had believed that love is always based on some form of sexual desire. Reik argued, to the contrary, that love and lust are distinct motivational forces.

The book was first published in 1941. The edition shown here was published by Farrar, Straus and Giroux in at least two versions, including one in their Noonday imprint from 1968 (fifth printing), with a red-and-yellow jacket design featuring large female (♀︎) and male (♂) signs. The display typeface is Hermann Zapf’s Michelangelo, an all-caps titling companion to his Palatino family, first cast in 1950. The smaller text on the back of the jacket is set in Palatino in roman and italic.

Michelangelo is distinguished by a lighter weight, a higher waistline, and more varied proportions – for example, a wider O, but a narrower E. The forms for R and K in the author’s name are alternates with a longer exit stroke. Michelangelo was digitized by Berthold. Linotype’s Palatino nova Titling is a revision made by Zapf together with Akira Kobayashi in 2005.

Source: archive.org License: All Rights Reserved.

Noonday Press, fifth printing, 1968

Source: archive.org License: All Rights Reserved.

Noonday Press, fifth printing, 1968

Album cover for Guardian of the Light – produced, written, arranged and orchestrated by George Duke in 1983.

The typography on the album cover – with artwork by Robert Florczak – uses a typeface that matches the monumental and extravert style of the artwork in name: Michelangelo. The typography is set as close as possible to the edges, maybe in order not to hide any of Florczak's work? The artist’s name on top is set bigger than the generously spaced album name.

See also the maxi-single “Reach Out” / “You’re the one” that was taken from this album.

This paperback edition of Richmond Lattimore’s translation of the Iliad was published by the University of Chicago Press in 1961 (the book’s hardcover edition had been published ten years earlier). The paperback’s interior pages don’t match the cover’s design exactly—those seem to me to be set in Monotype Bembo. Unfortunately no designers are credited within the book, either for the shape of the text or the design of the cover.

On this cover design, the words “Iliad,” “Homer,” and “Richmond Lattimore” are set with Michelangelo. Note the alternate ‘R’. The italic used for the smaller lines of text reading “Translated and with an Introduction by” have some details in common with Monotype’s Arrighi Italic (i.e., Centaur Italic), like the long ascenders or the ‘y’. Judging from ‘w’ and ‘a’, though, it is probably Cancelleresca Bastarda, designed by Jan van Krimpen for Enschedé.

This 1961 paperback would seem to be a relatively-early example of Michelangelo in-use by a client in the United States. The titling face Michelangelo was designed by Hermann Zapf to match his Palatino typeface, at the D. Stempel AG typefoundry of Frankfurt am Main (West Germany).

Here are a few pages from the late Hermann Zapf’s 1954 masterpiece, the first Manuale Typographicum. My copy is the paperback edition by the MIT Press, printed in (West) Germany in 1970.

Let’s remember that these plates were originally printed from handset metal type! The compositors would have followed Hermann’s layouts, meticulously drawn with pencil and ballpoint pen.

The overlapping in the last two slides was done by overprinting successive plates.

Letterpress-printed with metal type by bogtrykker.