This one goes out to John who’s looking for more in-use examples of Daisyland.

For ages 8–80
A good beginner’s book. easy enough for children, appealing enough for adults.
Clear Project Instructions · Knotting Diagrams · Full-Color Photos

On 23 pages, the DIY book presents patterns titled Neat Knots Wallhanging, Wings of String Butterfly, Fish Story, Twice as Nice Plant Hanger, Beaded Beauty Belt, Beach or Books Tote, Jump Ropes, Message Center, Mr. Happy, Ring Around a Towel, and Pretty Hang-up.

Kids Can Macramé was edited and art directed by Mickey Baskett, with photography by Jimmy George and illustrations by Jackie Stephens. Cathy Bonds, Rose Brinkley, Michelle Menough, Carol Millsaps, and Lynn Witbeck are listed as co-authors.

All of the typefaces were available from VGC for the Photo Typositor. Daisyland – an ornamented variant of Erwin by Murray Fuchs – and Jerry Matejka’s Soul were originals by the Florida-based phototype company.

License: All Rights Reserved.

Letterhead by José de Ros

Josep de Ros was an industrialist from Figueres, Spain, born in the manor house of Les Olives into an aristocratic family. Around 1917, he started a business in the fertilizer sector and opened the Camponal liquor distillery a few years later. He had a warehouse on Vilallonga Avenue in Figueres, near the railway station, close to the border with France. He died in 1935.

In the shown letterheads by Josep/José de Ros from around 1930, the difference between typography and lettering is difficult to appreciate (thanks to the staff of Fonts In Use for the clarifications).

License: All Rights Reserved.

Detail of the letterhead: “José de Ros / Abonos, cereales y despojos / Figueras”. All three styles are lettering.

The name is in an English script close to Stempel’s Künstler-Schreibschrift, known in Spanish as Inglesa Artista semi-negra, with an ornamented J and a characteristic loop around the stem of the R. Josep de Ros i Moner (father) and Josep de Ros i Reig (son) were descendents of Ros de Olano. In Stempel’s 1918 specimen book for the Spanish market, the name of Ros de Olano is set in Inglesa Artista (it’s misspelled as “Olona”; another page in the same book has the correct spelling).

“Figueras” is drawn in a serif with inline. The structure is very close to the Bravour typeface designed by Martin Jacoby-Boy for Stempel in 1912), but with sharper serifs, and a wider letter U with a small spur. I have made a comparison with the solid Bravour negra and the decorated Bravour adornado (Verzierte Bravour).

License: All Rights Reserved.

Comparison of the lettered inline caps to the Bravour typeface

From the obituary for the father in La Veu de l’Empordá, 27 December 1919 (translated):

[…] Josep de Ros was from a noble family, from the stately house of Ros located in the town of Les Olives, although the one they owned in this city could also be considered a manor. Among the ancestors of the house are the famous General Ros de Olano, who was a minister of the Crown and commanded an army corps in the African War during the years 1859 and 1860. The last Prior of the Monastery of Santa Maria de Ripoll also came from the Ros family.

License: All Rights Reserved.

Detail of the letterhead featuring Merveille, Kleukens, and Venus, all by Bauer/Neufville

The Camponal letterhead is typographic: it’s set in the typefaces Merveille, Kleukens-Kursiv and Venus-Grotesk, all by the Bauer type foundry (Merveille originated in the United States under the name Laclede), and distributed in Spain by the Neufville branch in Barcelona. Bauer’s typefaces were the most commonly used ones in Catalonia before the Franco dictatorship (1939). This letterhead helped to locate the forgotten Camponal distillery.

License: All Rights Reserved.

Label featuring Venus schmal dreiviertelfett, Fette Grotesk-Kursiv, and Clio a.k.a. Kleopatra

The Camponal identity uses other typefaces by Bauer and Neufville, like Antigua Mercedes (the Spanish name of Tages-Antiqua), Bernhard-Antiqua, Fette Grotesk-Kursiv, Carnaby (Marocco), Grotesca Estrecha (Neue enge Zeitungs-Grotesk), Florentiner Mediaeval, and Majestic.

A few typefaces could have been sourced from different type foundries based in Madrid and Valencia, like Clio (Ludwig Wagner, 1903) distributed by Neufville/Bauer as Kleopatra and by Gans as Aurora; or Aurora Grotesk (Wagner & Schmidt, 1908) sold by Gans as Grotesca Ideal and by Fundición Tipográfica Nacional as Grotesca Estrecha.

Typography and lettering also coexist in other elements, such as in the Camponal liquour labels and packaging.

Learn more about Josep de Ros and the Camponal distillery.

License: All Rights Reserved.

Camponal label featuring lettering (white letters), Kleukens-Antiqua, and Majestic

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Label featuring Kleukens-Antiqua, Venus, and an unidentified typeface (similar to Stempel’s Holzhausen-Antiqua, but with a different M)

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Bottle label ft. lettering, an unidentified grotesk for “Licor de Hierbas ‘Camponal’” (similar to Grotesca Favorita by Gans), and Bauer’s Kleopatra

License: All Rights Reserved.

Packaging ft. lettering (the reversed letters at the top), Marocco a.k.a. Carnaby for “Cura estómago e intestinos”, Majestic for “G. Garriga”, and other unidentified typefaces

License: All Rights Reserved.

Camponal ad ft. Bernhard-Antiqua, Universitäts-Antiqua a.k.a Druckhaus-Antiqua, Neue enge Zeitungs-Grotesk, Tages-Antiqua a.k.a. Antigua Mercedes, and others

License: All Rights Reserved.

Point-of-sale display ft. Columbus, a version of Edel-Grotesk (probably Groteska Moderna by Fundición Tipográfica Nacional), and Schmale halbfette Etienne

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Camponal ad ft. Bernhard-Antiqua, Tages-Antiqua a.k.a. Antigua Mercedes, Universitäts-Antiqua, Florentiner Mediaeval, Kleukens-Antiqua, and an unidentified grotesk

License: All Rights Reserved.

Address label ft. Etienne Sombreada (Gans’s version of Umstochene Etienne by Schelter & Giesecke), Venus, and Antigua Veneciana (Gans’s version of ATF’s Cheltenham)

License: All Rights Reserved.

From the back cover:

An interpretation of Egypt’s relations with her fellow Arab states during the era of Gamal ’Abd al-Nasir, Mr. Kerr’s study begins in 1958. This momentous year saw the creation of the UNited Arab Republic, The Lebanese civil war, and the Iraqi revolution.

The cover uses an interesting and contrasting combination of Neil Bold and Columbus typefaces.

The design is by Ronald Clyne, a prolific album and book jacket designer of the 1960/70s. He often used texture in his work, similar to the one used on the right half of this cover.

An interesting fact about this book is that the son of its author, Malcolm H. Kerr, is the former NBA player and current coach Steve Kerr. Steve was born in Beirut, Lebanon, where his father was an academic specializing in the Middle East.

This is the third edition of this book published in 1971. The first edition was published in 1965, titled “The Arab Cold War, 1958-1964”. Information and additional details on the book can be found on Goodreads.

Booklets made for Lafayette Anticipations:

During the exhibition Tumultes à Higienópolis by artist Katinka Bock, four editorial workshops were organised at Lafayette Anticipations, curated by Clara Schulmann and Thomas Boutoux, around the transformation of the city and the following themes: orality, observation, ecology and physicality, governmentality.

Each workshop resulted in the printing of a “journal” produced and printed on site within twenty-four hours of the workshop. The book, composed of these four issues, is completed with original engravings made from images by several artists invited by Katinka Bock. The sheets, in different formats, are based on the formats of international newspapers in reference to the initial activity of the Anzeiger-Hochhaus in Hanover. This emblematic publishing house saw the birth of such important periodicals as Der Stern and Der Spiegel in its basement.

Graphic design by Atelier Pierre Pierre using EB Trainer Grotesk, distributed by Électro-bibliothèque since 2023, and Suisse Works by Swiss Typefaces.

The big type on this spread appears to be related to Columbus.

The Abecedarian Book is “an alphabet book of big words for adults with the curiosity of children with the capacity of adults”. Written by Charles W. Ferguson and illustrated by John Alcorn, it was published by Little, Brown & Co. in 1964.

Although it has the same title as Gene Chandler’s debut album from 1962, this Duke of Earl issued by Upfront Records in 1968 is actually a compilation with a different track list, “selected from Vee-Jay Archives on the basis of their nostalgic quality”. Columbus is here used with its alternate swash caps. The song names are set in Cloister Bold, with the initial swash D taken from the Bold Italic.

[More info on Discogs]

The letter O with the inward curl in Columbus can be used not only for alluding to the opulence of Baroque art. It’s also a perfect typographic miniature for symbolizing tasty spreads, as demonstrated by the wordmark of Alpenhain’s Obazda packaging. A good example how a single glyph can make all the difference!

This line of soft cheese products is one of the few contemporary applications of Columbus (1890) that I’m aware of. Alpenhain has been using Herman Ihlenburg’s typeface for at least a couple of years now, initially unmodified and later adjusted with an upright a and a more left-leaning z, in combination with varying secondary fonts. The current choice is the non-connecting variant of Fineday (Mika Melvas, 2018), together with Bellfort Press (Bartek Nowak, 2015) for the flavor.

International variant with English text. Fineday is here used in its Style Two, i.e. with restrained capitals.

A special “Wiesn dahoam” edition sold during the Oktoberfest season additionally uses Quayside (Dave Rowland Type, 2013) for the script lettering on the gingerbread hearts.

In a previous version, the wordmark in unmodified Columbus suffered from too loose letterspacing. “Original” is in caps from Otari (Vectro, 2010).

Columbus in use for the cover of Berkley’s paperback edition of Picnic on Paradise from 1979. First published in 1968, the novel by Joanna Russ (1937–2011) is part of Adventures of Alyx, a series of feminist science fiction stories. No cover designer is credited.

[More info on ISFDB]

Columbus in all caps on the cover of an album of motets from the 16th and 17th centuries, recorded by the Windsbacher Boys Choir. The typeface was likely chosen for the flourish in its O, which is a handy device for signifying Baroque without having to revert to type styles that were actually used in this period. It helps that this letter occurs no less than five times in the title, in fairly even distribution. For good measure, there’s one equally curling C and one floppy-top A.

For the art, cover designer Burt Goldblatt used a detail from Assumption of the Virgin by Spanish painter Juan de Valdés Leal (1622–1690). The album was released by Mace, a division of Scepter Records specializing in classical music, probably in the mid or late 1960s (catalog number MS 9054).

[More info on Discogs]

Front cover of the stereo release.

On the back cover, the title is presented in Columbia Outline, a variant that was already available as part of the original 1890s release.

From the collection of the National Library of Urugay, as collected on La Patria:

Casino Montevideo
Hoy Martes 11 de Febrero de 1908
Sorprendente
Nuevo Programa
por el
CELEBRE CANTATE
LEROY
Todo el mundo
Al Casino!
ESTRENO
Por el biografo – La emaciante vista
EL VIEJO CAJERO
Esplendido Espectáculo

The poster announces a show by “the famous singer Leroy”, presenting a “surprising new program” at the Montevideo Casino. Translation and (un)identified typefaces follow below:

“Casino” — French Antique/Clarendon Extended
“Calle Florida” — (a) French Clarendon
“Telephone“ — a Fat Face
“Montevideo” — not yet identified
“Today Tuesday February 11 1908” — Columbus
“Surprising New Program” — Bradley
“for the famous singer” – (a) French Clarendon
“Leroy” — This eccentric sans serif is similar to Ronaldson Gothic, Stephenson Blake’s Arabian and Sezessions-Grotesk – more even in ABC Type’s version named Text Gothic (2004).
“All the world to the Casino!” — Columbus
“PREMIERE”— Columbus
“By the biographer – The emaciating sight” — Boutique
“The Old Cashier” – a yet unidentified squarish gothic.
“Splendid Show” — Antique Extended (light).

From Eye magazine:

End papers from Penrose’s Pictorial Annual, 1899, letterpress. This edition of the Annual devoted considerable space to the then emerging three-colour process. Among the articles was ‘Six colours from three. An object lesson for the printer’ for which the end papers served as illustrations. They demonstrated the range of colours generated by the three process inks, while simultaneously functioning as backgrounds for companies advertising relevant expertise.

The article’s author was justifiably pleased with the idea and its outcome: ‘To the purely artistic mind, the result shown on these end papers may appear crude and perhaps vulgar, but to the thousands of printers throughout the country who are not familiar with the subject, and who find it difficult to understand, we think this simple object lesson will explain more eloquently than the most elaborate supplement the powers of the three-colour process’

The endpapers advertise the the Measured Colour Filters by Sanger-Shepherd, an emerging company in the field of color photography, and the services of Carl Hentschel, Ltd. Founded by Carl Hentschel (1864–1930), inventor of the Hentschel-Colortype process, this reproduction firm “produced engravings for numerous forms of printed media”.

The largest words are set in Columbus, with its distinctive curly forms for C and O. It’s paired with De Vinne (“Sanger-Shepherd”, “Penrose & Co.” (with alternate S), “Fleet Street” etc.) and the related Heyer (“Photo-Engravers”). “Carl Hentschel Colortype Process” uses a version of Regina-Kursiv.

Columbus in use for Signet’s paperback edition of a selection of writings by Walter Pater (1839–1894), edited by Harold Bloom. Signet Classics CJ743, 1974.

Make It Old comments:

No visible signature in the cover art; it has Pushpin Studio written all over it.

Columbus had indeed been used by Milton Glaser at Push Pin Studios, see the “Take a Trip to Lotus Land” poster from 1967.

Designed by Hermann Ihlenburg, Columbus was first released in 1890 by the MacKellar, Smiths & Jordan foundry. It’s reproduced in Ludwig Petzendorfer’s Schriftenatlas Neue Folge (1903–1905), and was rediscovered in the 1960s. One such revival was made at Photo-Lettering. It’s shown in their 1971 catalog under the name Columbus Antique, with a second, slightly beefier weight.

La Libertà Economica was an economics magazine founded in Bologna in November 1903 by Alberto Giovannini (who recognized himself as a pupil of Tullio Martello and therefore he followed the so-called “Ferrara school”) and directed by him until it ended its publications in 1926.

When at the congress of Bologna (October 8-10, 1922) a series of groups of varied liberal inspiration tried to give themselves a national organizational structure founding the Italian Liberal Party, Giovannini became its secretary and his magazine in some way the organ up to the end of its publication.

(source: “Dizionario del liberalismo italiano”, Rubbettino Editore, 2011).

The magazine’s masthead uses Herman Ihlenburg’s Columbus (MacKellar, Smiths & Jordan, 1890), which is used in smaller point sizes for other indications on the front and back cover. Columbus was locally available from Urania under the name Columbia (later also from Società Augusta as Victor Hugo and from Reggiani as Rossana).

Other typefaces used are Old Style Extended (Central Type Foundry, circa 1892), Regina-Kursiv (Berthold, circa 1895, available from Augusta as Mercurio), Latin Condensed (Stephenson Blake, 1873), Murillo (Schelter & Giesecke, 1897, carried by Urania as Estienne), and an unidentified Modern/Scotch with italic and bold. The condensed grotesque used at the bottom appears to be Bauer’s Neueste schmale Grotesk or similar. The light sans used for the number and date at the top as well as for “Succursali” looks like Schelter & Giesecke’s Breite magere Grotesk, which was sold by Reggiani as Eia.

Intendencia Municipal
Dirección de salubridad
La Direccion de Salubridad exhorta a todos los habitanted del Departamento para cumplan las indicacciones del señor Presidente del Consejo Nacional de Higiene, que a continuación se expressan:
La Grippe

The Health Directorate urges all inhabitants of the Montevideo department of Urugay to comply with the instructions of the National Hygiene Council, to end “La Grippe”, the 1918–20 global influenza pandemic. The poster, dated October 29, 1918, was printed by “Imprenta Nacional” (the building still exists). The body text is divided in three sections: “How is contagion acquired”, “Treatment” and “Individual prevention”.

The headlines and introduction paragraph of the poster are set in Columbus. The extra bold type used for “La Grippe” (reminiscent of German Plakatstil lettering), the reversed-contrast slab serif used for Intendencia Municipal and the text typeface are yet unidentified.

This poster was found in one of many print collections on the website of La Patria “an archive dedicated to graphic arts in the Uruguayan territory”. Unfortunately, the collection that holds this poster comes without any additional information.

Poster by Milton Glaser for the 52nd issue of the Push Pin Graphic. From The Push Pin Graphic: a Quarter Century of Innovative Design and Illustration by Seymour Chwast (Chronicle Books, 2004):

Push Pin was caught up with, and helped influence, the colorful psychedelic fashions of the late sixties. This issue consisted of three faux “advertising” posters with slogans on the front and texts on the verso side. Chwast, Glaser and McMullan interpreted the drug-induced style in there own ways.

A intensely brown and blue, nearly ton-sur-ton illustration of a nude girl walking with flowers is accompanied with a single line of text set in what looks like Angelus-Mediäval or Chicago, as it was named in the catalogue of Fonderie Turlot. Similar to De Vinne, Romana, but clearly different in its shark fin-like terminals on the capitals T and L (both used twice and grouped on this poster).

Detail.

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.

Arkham Horror: Third Edition is a cooperative board game for one to six players who take on the roles of investigators trying to rid the world of eldritch beings known as Ancient Ones. Based on the works of H.P. Lovecraft, players will have to gather clues, defeat terrifying monsters, and find tools and allies if they are to stand any chance of defeating the creatures that dwell just beyond the veil of our reality.

From the publisher's website, Fantasy Flight Games:

The year is 1926, and it is the height of the Roaring Twenties. Flappers dance till dawn in smoke-filled speakeasies, drinking alcohol supplied by rum runners and the mob. It’s a celebration to end all celebrations in the aftermath of the War to End All Wars.

Yet a dark shadow grows in the city of Arkham. Alien entities known as Ancient Ones lurk in the emptiness beyond space and time, writhing at the thresholds between worlds. Occult rituals must be stopped and alien creatures destroyed before the Ancient Ones make our world their ruined dominion.

Only a handful of investigators stand against the horror. Will they prevail?

The game logo is set in Birmingham. The numbers on the dice (2009) are set in Arnold Böcklin. The distressed font found in “Rulebook” and “DICE SET” is Ugly Qua by Manfred Klein. The “Call of Cthulu” logo is derived from Columbus.

Guitars A Go Go Vol. 2 by Jerry Cole & The Stingers, released by Crown Records (USA, 1966).

[More info on Discogs]

La Mère Poulard is a restaurant, hotel and “biscuiterie” on Mont Saint-Michel. The name “La Mère Poulard” comes from Annette Poulard, renowned for her hospitality towards the pilgrims in Le Mont-Saint-Michel and her recipes for omelettes and butter biscuits. Today it’s the butter biscuits that stand out. In their shop, La Mère Poulard sells numerous sweets and cookies, including these biscuit boxes, using Victorian and Columbus alongside the lettering.

This design additionally uses another Victorian typeface, Columbus.

“Mr. Tambourine Man is the debut album by the American folk rock band The Byrds and was released in June 1965 on Columbia Records. The distinctive front cover fisheye lens photograph of the band was taken by Barry Feinstein.” — Wikipedia

The album title in pink is set in Columbus. The band name is in a yet unidentified heavy slab serif. Antique (Wells) is similar, but not a match.

[More info on Discogs]