East-West is the second album by blues rock band the Butterfield Blues Band, released in 1966 on the Elektra label. Designed by William S. Harvey, the album uses Tip-Top for the band name and (back)slanted Frankonia caps for the title.

[More info on Discogs]

On the back, Paul Nelson’s liner notes, the names of the band members, and the track list are set in various styles from the Trade Gothic family.

Ignace Baert is a Flemish singer-songwriter born in Kortrijk in 1950. He started his career as a member of the Lilac Street Band. This single is his first release as solo artist, under the name Ignace.

The typefaces used on the sleeve both stem from Berthold’s phototype library. Tip-Top was revived from a turn-of-the-century typeface that Berthold had acquired together with the Klinkhardt foundry in 1920. Santana was a fairly new release, added in 1972 and credited to A.M. Barth and Hans Reichel. The unknown sleeve designer used exclusively lowercase characters for the title of the A-side, and exclusively capitals for that of the B-side.

[More info on Discogs]

The typeface used on the cover of this album of Pacific music from 1967 is a phototype version of Tip-Top. The top-and-bottom-heavy display face originated at the Klinkhardt foundry in Leipzig in 1902. The original had a T with curling stem and an H that follows the minuscule construction as seen in blackletter typefaces.

The album title uses more conventional forms for these two characters, as well as for W. The latter appears to be an upside-down M. Tip-Top’s standard W with the horizontal end stroke can be seen in the track names, alongside the curling T. The H here has the romanized form, too – it might have been available as an alternate.

[More info on Discogs]

De Primera is the debut solo album by pop artist Marina Sena. As the title predicted, the album from the young Brazilian singer was well-received by public and critics. Creative direction by Marcelo Jarosz, photography by Fernando Tomaz, and design by Giovanna Cianelli.

The main typefaces in use are Druk Wide and Neue Haas Grotesk, paired with bits of ITC Machine and lettering.

Fonts from the Flea Market #1234

Mister K. “The Synthesizer” a.k.a. Mat Camison (b. 1941) “may be considered a precursor in the use of electronic synthesizers, progressive pop-rock and disco music.” “Louisiana” is an early single of his, released in 1972 on Vogue Records. Sleeve designer Thérèse Ruyant didn’t skimp on the colors, and combined Tip-Top, Futura Light, and Eurostile, all in all caps. See also her equally cheerful cover for Les Korrigans from 1974.

[More info on Discogs]

Africa’s Blood is a 1971 studio album by the musician/producer Lee “Scratch” Perry. From All Music:

Lee Perry is unquestionably one of reggae's most innovative, influential artists. His mixing-board innovations, from his early use of samples to hallucinatory echo and reverb effects, set the stage for generations of musical experimentation, particularly throughout electronic music and alternative/post-punk (...).

The music on this album isn’t quite as eccentric as the music (and appearance) that Perry would become known for, but the setup is already more or less the same as Perry would favour for many of the hundreds of recordings he released in his lifetime. Instead of a “band/artist album” he presents a loose selection of songs and instrumentals, partly covers and partly original compositions, recorded by his studio band The Upsetters and by solo artists who released their (reggae and dub) music through his studios and labels.

The album cover shows Perry embracing an unknown woman, both looking into the lens of photographer Lenz. Design studio C.C.S. Associates set the title on a curve, embracing the two. The text is set in Tip-Top, using Antique Olive for the artist’s name.

[More info on Discogs]

In memoriam Lee Perry (Jamaica, March 1936 – Jamaica, 29 August 2021), who lived a prolific life.

This compilation album published by Coxsone Records (a sub-label to Studio One) presents a collection of previously released tunes by Bob Marley and The Wailers from the 1960s and 1970s. Within the first year of its release it came in a number of different covers, the black and red version here is one of the earlier versions.

The cover shows Marley and two more Wailers (probably Peter Tosh and Bunny Wailer, who by the time had already left the group) placed in a frame of thick/thin rules. The printing is rather rough. That makes the cover charming in its own way, although that was probably the last thing the printers were aiming for – there was little time and not the best resources at hand.

The four typefaces for the cover are (all caps) Clarendon with Tip-Top for the first line in red, followed by a black line in Ringlet and the third line (red, all caps) uses Romantiques No. 5.

The typography on the back cover is too eroded to identify. If you have better eyes, leave a comment. The track listing seems to use a modulated san serif similar to Optima (but with a narrower W, a crossbar on the G and does that M have straight legs?) Other similars available at the time are Pascal and Theme. The notes are set in a grotesk sans serif.

On the record labels, most tracks are set in all caps Futura, with the fourth line using what looks like a light weight of Gill Sans.

[More info on Discogs]

“Birthday” (No. 307). Illustration by Tom Sawyer. The typeface is Davison Dimensional.

Covers for various clip books of line art issued in 1978 by Harry Volk Jr. Art Studio, Pleasantville, New Jersey. Each booklet features another face for the cover, typically in an attempt to echo the topic in the typeface choice, see e.g. the graphic Futura Black for “Graphic Arts”, the 19th-century Bracelet for “Western”, or the engraved Bond Shaded for “Money”. This volume uses Kabel Black for the bottom line, framing the logo designed by Herb Lubalin in 1976. The heavy border with rounded (and sometimes inset) corners was introduced in 1976, too, but wasn’t seen on most issues from 1977.

See the previous post about the clip books issued in 1955 for more information on Harry Volk Jr. Art Studio.

“Wedding” (No. 304) ft. Tintoretto.

“Holidays” (No. 305) ft. Caslon Antique.

“Homes-Buildings” (No. 306) ft. caps from Compacta set on an arc. The fanning suggests this was set with phototype, as ooposed to dry transfer lettering.

“Graphic Arts” (No. 308) ft. Futura Black.

“Expressions” (No. 309) ft. Archie in all caps.

“Religion” (No. 310) with what looks like some sort of Normande Italic. Berthold’s phototype version comes close except for the n.

“Winter” (No. 311) ft. Goudy Heavyface in italic all caps.

“Occupations” (No. 314) ft. Dynamo. Originally issued in 1930, this design was revived and extended at Letraset in the late 1970s.

“Spring” (No. 315) ft. Mania. Illustration by Tom Sawyer.

“Marine” (No. 700) ft. Tip-Top.

“Western” (No. 701) ft. Romantiques No. 5 / Bracelet. This ornamented Tuscan originated in the 19th century. It was available for dry-transfer lettering from Mecanorma (as Tuscan Ornate) amd Letraset (as Romantiques No. 5).

“Executives” (No. 704) ft. Columna Solid.

“Tourism” (No. 705) ft. Solemnis. Illustration by Tom Sawyer.

“Couples” (No. 706) ft. Yagi Double.

“Safety” (No. 707) ft. caps from Compacta Outline.

“Christmas” (No. 712) ft. the ornate Green Buzzard.

“Transportation” (No. 715) ft. Compacta Italic.

“Family” (No. 716) ft. Benguiat Caslon with swash alternates.

“Landmarks” (No. 717) ft. Saphir.

“Environment” (No. 718) ft. all-lowercase Charter Oak, tightly spaced.

“Money” (No. 719) ft. a version of Bond Shaded, probably Bond Shaded. Illustration by Tom Sawyer.

“Children” (No. 720) ft. all-caps Mistral.

“Groups” (No. 721) ft. a bunch of people pointing at tightly spaced caps from ITC Zapf Book Heavy.

“Circus/Fair” (No. 722) ft. West Barnum Ultra.

“Contests” (No. G86) ft. more Benguiat Caslon, this time in all caps. The logo of the Grafika subseries is in ITC Fat Face with ligatures for ra and fi, accompanied by Kabel Light with omitted tittles.

“Design Devices” (No. G87) ft. Harlow, a Letraset release from 1977. “ZAP” is probably custom lettering.

“Something Extra” (No. G89) ft. Slim Dandy, a variation of the Mansard theme, by Lettergraphics.

“Lankies” (No. G90) ft. Churchward Design Sparkly.

“Symbols” (No. G91) ft. Cucumber

“Printed Forms” (No. G93) ft. Gonzales Jeanette with Akzidenz-Grotesk Condensed and Windsor.

“Big & Strong” (No. G94) ft. Atlas and more Mania, set on a curve.

“Announcers” (No. G95), again with Slim Dandy.

“The Wedding” (No. 268) ft. Bookman Swash Bold in all caps italics with three swash alternates.

Covers for various clip books of line art issued in 1975 by Harry Volk Jr. Art Studio, Pleasantville, New Jersey. See the previous post about the clip books issued in 1955 for more information on Harry Volk Jr. Art Studio.

In most issues from this volume, “Clip Book of Line Art” is set in a light weight of ITC Avant Garde Gothic, with alternates for A and e.

While Volk predominantly used phototype styles from Filmotype’s library in the late 1950s and early 1960s, they had switched to Photo-Lettering (and later ITC) by the end of the 1960s. The covers in this post also feature a number of faces that originated elsewhere. Burko was issued by Headliners (and copied by Facsimile Fonts as part of the Blippo series). Checkmate started out at Schaedler (and was adopted by Photo-Lettering). Yagi Double is a Facsimile Fonts creation. Their Bob Trogman claims credit for Uncle Bill. Zipper and Premier Shaded are Letraset originals. Archie and Rock Opera may have been created at Lettergraphics (the latter is a derivative of Letraset’s Frankfurter).

Or did Volk maybe tap into Formatt’s library of faces for dry-transfer lettering? Their catalog no. 5 from 1974 shows several of the styles used on these covers, including Rock Opera, Tip Top, Eurostile, Uncle Bill (as Brother Bill), Checkmate (as Tournament), Copperplate (as Broker Shaded), Archie (as Chuckle), Yagi Double (as Circuit Double), and Titan.

“Holidays” (No. 269) ft. Benguiat Caslon.

“Entertainment” (No. 271) ft. ITC Neon, set on a curve.

“Telephones” (No. 272) ft. Cooper Black Italic with swash caps and Folio with biform alternates.

“Occupations” (No. 273) ft. Eurostile Bold Extended and Akzidenz-Grotesk.

“Winter” (No. 274) with one of the adaptations of Mexico Olympic, probably Hotline by Lettergraphics.

“Men” (No. 276) ft. Checkmate.

“Spring” (No. 279) ft. Saphir.

“Holidays” (No. 277) ft. Archie.

“Circus-Fair” (No. 628) ft. West Barnum Ultra.

“Spring & Summer Sports” (No. 629) ft. more Eurostile Bold Extended.

“The Farm” (No. 630) ft. ITC Busorama with its alternate glyphs.

“Summer” (No. 631) ft. caps from Tip-Top.

“Medicine” (No. 632) ft. Columna.

“Media” (No. 635) ft. Burko.

“Homemaker” (No. 637) ft. Zipper.

“Human Relations” (No. 638) ft. Columna Solid with what looks to be a customized R, or maybe an alternate that was exclusive to some (VGC’s?) phototype version. Bauer’s original (open) Columna has two forms for this letter, none of which matches the one seen here.

“Fall & Winter Sports” (No. 639) ft. Revue with EndcapS.

“Christmas” (No. 640) ft. American Uncial Initials for “Christmas”, with the text version used for the line below. [Thanks, Bryson!]

“Crowds” (No. 643) ft. Premier Shaded.

“Couples” (No. 644) ft. Yagi Double.

“Safety” (No. 645) ft. Stencil (Ludlow).

“Teens” (No. 647) ft. Rock Opera AKA Shady Deal, a copy of Frankfurter with a line pattern fill.

“Groups” (No. 648) ft. Uncle Bill.

“Industry” (No. 649) ft. Blippo Black.

“Children” (No. 650) ft. Davida.

“Borders” (No. G60) ft. Orbit Shaded. The logo of the Grafika subseries is in ITC Fat Face. The script appears to be lettering.

“Pointers” (No. G53) ft. Novel Gothic with arrows.

“Conrad Zilch” (No. G51) ft. Banco …

… accompanied by “Cora Zilch” (No. G56).

“Design Devices” (No. G54) ft. Titan, a Baby Teeth follower of unclear origin.

“Money” (No. G59) ft. Bond Shaded AKA Bond Shaded.

“Contests” (No. G61) ft. Orbit Rimmed.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. 1, No. 9, announcing the premature death of Jimi Hendrix. Cover typography in Thorowgood Sans Shaded.

Pelo (“Hair”) was the first Argentine magazine dedicated entirely to rock music, with a special emphasis on the local scene. Founded by Osvaldo Daniel Ripoll in Buenos Aires in 1970, it soon was distributed across Latin America, and became especially popular in Peru and Uruguay.

The logo features lowercase letters from Art Tone. The bottom-heavy face was designed by Seymour Chwast in 1964 and subsequently added to Photo-Lettering’s library. Pelo used this logo from the first issue in February 1970, made under the art direction of Juan Bernardo Arruabarrena, to the very last one in September 2001. The wordmark was shown in all kinds of colors, in various sizes and alignments, occasionally rotated, on an angle, partly obscured, and sometimes illustrated. The only major change was introduced in No. 95 from 1978 when the letterforms were embellished with a bombastic chrome effect. In this issue, Juan Carlos Piña is credited as jefe de arte.

The National University of Quilmes is carrying out a complete digitization of the magazine and is making the issues available online in the Archivo Histórico Digital de la Revista Pelo. This post shows a few selected covers.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. 1, No. 1 (February 1970), ft. Mike and Paul McCartney and the first appearance of the Pelo logo in Chwast Art Tone. The cover typeface is Cooper Black.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. 1, No. 6, ft. Paul McCartney. “Letras del LP …” uses letterforms from an unidentified source (possibly a dry-transfer face?). “Super Poster” is in Columbus, “Exclusivo desde Londres” uses PLINC’s Staudel Xenotype J or Roberta III, while “Los Beatles” features Siegfried.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-ND.

Vol. 3, No. 33 (1972), with a title story about “the lies of Argentine rock” presented in Countdown. “Arco Iris” is in Helvetica.

License: All Rights Reserved.

Vol. V, No. 49 (1974) about the “decadence of rock”, ft. David Bowie, Alice Cooper, Marc Bolan, Ringo Starr, Cooper Black Italic, and Tip-Top.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. V, No. 51 (1974), ft. Elkie Brooks. The main cover typeface is Tip-Top.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. IX, No. 105, with a review of the year 1978, ft. Queen and Kushell.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. XIII, No. 158 (1982), ft. Debbie Harry, caps from Flash Bold, and some ITC Souvenir.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. XXXI, No. 505 (2001), ft. Kurt Cobain, Helvetica, and ITC Garamond.

An anthology of scary stories from Edgar Allen Poe, O. Henry, August Derleth, Oscar Wilde, Joyce Carol Oates, Joe Lansdale, and more. As seen at jell-o biafra says. Cover illustration by Meryl Henderson.

Tube cap

Established in 1948, the Pustefix bubbles brand with the yellow teddy bear is known by every kid in Germany — and beyond: 700,000 liters of the soapy liquid are filled annually, 50% of it being exported to the US, Russia, Japan, China, and Korea.

The wordmark with the bouncing baseline is in Tip-Top, an old German advertising typeface first cast by Julius Klinkhardt in 1902. Some corners in P, s and e have been rounded off. Judging from the images shown in the history section of the company’s website, it was introduced sometime in the 1970s or 1980s, when Tip-Top was available from Berthold Fototype, among others. The shown tube and bottle are contemporary, i.e. from 2015.

For comparison: Tip-Top as digitized by URW++ (2008).

Refill bottle

Pustefix tube

Tip-Top with tight line- and letterspacing, for the cover of an early album by George Duke (1946–2013), released in 1973 by MPS Records.

[More info on Discogs]

Günther Kieser designed this poster for B.B. King’s short 1971 tour of Germany put on by famed German concert agency Lippmann + Rau.

Ludwig Wilde is a bookstore on Körtestraße in Berlin-Kreuzberg. The Art Nouveau typeface used for its signage is Tip-Top Reklameschrift, originally released in 1902. In the version used here, the L is bereft of its balancing top serif, and the H doesn’t have the blackletter form.