This album with music composed by Johann Sebastian Bach and performed by German lutenist Walter Gerwig was released on Nonesuch Records in 1966. The cover design is by William S. Harvey, with art by Donald Leake.

Phanitalian Ornamented No 2 was first shown by wood type manufacturer William Hamilton Page in 1879, more than a century after Bach had lived. Still, Harvey deemed the Tuscan with its bulbous terminals baroque enough to be used for the composer’s name. Its mid-stem decoration was a tad too much, though: the designer simplified the letterforms by cutting away the lateral knobs. The only letters to keep their decoration are those where the “rivet heads” connect to a structural element on the other side of the stem, see B E H. In the process, Harvey also made the letters a little wider.

[More info on Discogs]

Detail of Phanitalian Ornamented No 2, widened and minus the mid-stem ornamentation. Compare to the unmodified letterforms in Solotype’s phototype version, Bohemia.

Background from the Victoria and Albert Museum:

Opposition to the Vietnam War was an issue that galvanised a generation of students and activists – many of whom turned to the medium of the poster to express their moral dissent from the war. ‘Fuck the Draft’, is perhaps the most iconic of all. Designed by student activist Kiyoshi Kuromiya, under the fictional name ‘Dirty Linen Corp’ the poster protests against the drafting of young men into the military to fight in the conflict with Vietnam. The drafting of men became a major catalyst for opposition to the Vietnam War, especially among college students for whom burning the draft card became a symbolic act of defiance.

The language Kuromiya used in the poster was designed to shock the establishment and resonates with the ways in which 1960s American youth culture sought to challenge authority through alternative politics, lifestyles, fashion and music. In 1968, Kuromiya distributed this poster via mail order. In the accompanying advert he described it as ‘the perfect gift for Mother’s Day’ and ‘Buy five and we’ll send a sixth one to the mother of your choice’ listing a number of options, including the White House. For this ad, Kuromiya was arrested by the FBI and charged with using the US postal service for inciting lewd and indecent materials. Later that year Kuromiya defied the authorities and handed out 2000 of the posters at the Democratic Convention in Chicago.

The message of the poster itself is delivered in plain sans-serif caps, in two widths. The letterforms are a tad too generic (and the sample too limited) to tell whether they are from a typeface, and if so, which one.

The text added for the ad is rendered in a very different style, chosen to go along with the Mother’s Day theme, complete with flowers and a cute manicule. The Tuscan with bulbous terminals is named Phanitalian Ornamented No 2, and was first shown as wood type by William Page in 1879. Headliner issued a phototype adaptation in 1964. Smaller copy is set in News Gothic (or Trade Gothic) Condensed.

See also “‘Fuck the Draft’: The amazing story of Kiyoshi” by Jason Schafer for Dangerous Minds (2015). You can read more about Kiyoshi Kuromiya in Roger Vaughan’s article “The Defiant Voices of S.D.S.” in LIFE (Oct. 1968) and also in a 2021 article by Maina Chen.

Via the People’s Graphic Design Archive

Full page of the Berkeley Barb issue from April 12, 1968 with the ad

October 21 1966, Vol. 2 No. 5. Cooper Black in speech balloons as a reference to the typography on the Freak Out! album art for Zappa and his Mothers. The other display faces on this cover are all based on 19th-century wood type: “Sex” and “Troggs” are set in Gothic Bold, “komen” in Aldine Expanded, “Rock & Roll” in Celtic/Celtic Ornamented, and “Ike & Tina” in Phanitalian. “Wally Tax” uses a font that has later been digitized as Alcazar and Number 514.

A selection of pages from Hitweek, an independent rock weekly magazine that was founded and designed by Willem de Ridder in the Netherlands in the 1960s. Note how the magazine mocks its own status by changing logos and name: Hitweek, Witheek (which is meaningless gibberish).

Legendary Dutch underground music magazine. The first year was only available in Amsterdam (1965–1966) but the later issues also in other big Dutch cities. It was THE magazine for hippies, modsters and other long haired youngsters. Hitweek was the magazine were you could find articles and pictures of obscure US, UK and Dutch bands such as The Outsiders, The Pink Floyd, Q65, The Creation, Lazy Bones, The Mothers, Velvet Underground + many many more. Hitweek was also famous because of the artwork. Especially the years 1967-1969 had great psychedelic drawings and pictures. Hitweek can be compared to the UK underground magazine IT, but Hitweek had more colour and more psychedelic artwork. In 1969 weekly Hitweek was renamed and continued as biweekly Aloha. —Afka.net

September 29, 1967 / Vol. 3 No. 2. “Freak out in the Concertgebouw — as if you’re flushing the toilet”. At first look, it seems like the type has been clipped, or compressed. One of the many ways in which Willem de Ridder made a name for himself was by simply cutting up letter shapes in order to get his headlines to fit the layout. The letters on this page might have been sourced from Lettera 2, using an alphabet called Gros Titre.

September 29, 1967 / Vol. 3 No. 2. “To London for next to nothing” uses Schmalfette Grotesk and “Jazz: sad for the neighbours” uses Folio Condensed.

March 29 1968, Vol. 3 No. 28. “The new album by The Mothers!” “Finally, Witheek [sic] will expand!” Headlines set in what looks like a version of Gothic Bold. It could be Skidoo Caps, which is shown in Lettergraphics’ 1969 catalog, albeit with a different W. Berthold’s Beat Star came later (1972) and is different in several letterforms, incl. G, J, O, V, W.

October 25, 1968, Vol. 4 No. 6. “This man is a peril”. Headlines on the right hand use Folio Condensed. The top of the lowercase t has diagonal terminals, a feature that was lost in digitizations of Folio.

Hitweek 36, Vol. 3 “Dordrecht is a sweet little town”, “It’s Out!! The third album by The Mothers”, advertisement for We’re Only In It For The Money. Headlines set in Egyptienne Bold Condensed.