Cпорт в Советском изобразительном искусстве / Sport in Soviet Fine Art was published in hardback by Sovetsky Khudozhnik, Moscow, in 1974. It comes with a text by A. Davydova.

The structure of the album—a system of two blocks, the inclusion of subjects not, at first glance, directly related to the main theme, and chromatic rhythmic contrasts—made it possible to convey the essential features of Soviet sport as an integral part of Soviet society, its social function, and its inherent dynamism. The album presents reproductions of works by A. Deineka, M. Manizer, M. Gerasimov, G. Savitsky, G. Toidze, S. Lebedeva, and many others.

From the publisher’s annotation:

The publishing house regards the reader as an active co-author of the album. By freely combining fragments of paintings in various arrangements, the reader will discover a wide field for imagination, construct their own rhythm, and independently create an image of a bright, joyful celebration—sport—one that most fully corresponds to their character, knowledge, mood, and emotional state.

The bottom-heavy Chwast Art Tone, set on two curves, for an album by Myron Floren (1919–2005), who was best known as the accordionist on The Lawrence Welk Show between 1950 and 1980.

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Chwast Art Tone in early use and in all lowercase letters for a comedy album released in 1967 by Fontana Records. Johnny Melfi, Dorothy Van(n) and Jim Evering take “a comical look at your horoscope”. The design is by Kerig Pope (b. 1935).

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King of the Blues Guitar is a compilation album by the iconic blues artist Albert King, released on Atlantic Records in 1969. The album cover was designed by Loring Eutemey, using Art Tone, a typeface designed by Seymour Chwast.

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Gloria marks the debut album of the Shadows of Knight, originally launched in 1966 as Dunwich Records no. 666. The album’s title track, a rendition of Them’s song, emerged as the band’s major success, climbing to the tenth spot on the Billboard charts. Album cover was designed by Ron Fratell, using a cover photograph by Don Bronstein.

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Seymour Chwast’s bottom-heavy Art Tone used in all caps for a cardboard poster advertising a concert by Janis Joplin that took place at Madison Square Garden, New York, on December 19, 1969.

From Heritage Auctions (with added links):

Janis Joplin stormed the Big Apple at Christmastime 1969 and appeared at hallowed Madison Square Garden, and this original advertising window card sold tickets for the appearance. The Paul Butterfield Blues Band opened the show.

Joplin’s I Got Dem Ol’ Kozmic Blues Again Mama! album was still in the top 20 of Billboard’s album chart, eventually leading to the naming of her Kozmic Blues Band. They aren’t mentioned on the poster, however, because they hadn’t adopted that name with enough formality to be used on this poster. And guess what? This was the last show the Kozmic Blues Band ever played with Janis. It was the last stop of her 1969 tour.

John Byrne Cook was Janis Joplin’s road manager from 1967 until the time of her death, and his On the Road with Janis Joplin book was published in 2014. He remembers this evening well. “The new indoor stadium is vast, modern and sold out,” he writes of this gig. “The crowd is liberally sprinkled with celebrities, including New York Jets quarterback Joe Namath, with whom Janis caroused the night before.” That’s right, she spent the night with Broadway Joe before hitting the Garden for arguably the biggest single concert of her career. During her show, she even leads the crowd in a rousing cheer for the Jets, says Cook. But alas… he lost that Sunday’s Jets game.

Late in the show, Janis performs Bo Diddley’s “Bo Diddley” with her fellow Texan and guest star, guitar whiz Johnny Winter. “The song becomes an extended jam when Paul Butterfield joins them onstage,” Cook writes. “The response of the audience is ecstatic.”

And how’s this: At a post-concert party thrown by Columbia Records president Clive Davis in his penthouse suite, Janis finally meets another CBS gold-plated star for the first time, Bob Dylan. “They shake hands, speak haltingly, fall into an awkward silence, and go their separate ways,” Cook writes. “Dylan is in his recluse mode. Once he finds a quiet place to sit, he seems to disappear.”

But back to the show. According to Alice Echols’ book Scars of Sweet Paradise: The Life and Times of Janis Joplin, she was performing Otis Redding’s “I Can’t Turn You Loose,” and then paused. She admonished the audience to loosen up indeed: “I don’t know what the fuck you’re doing sitting down,” she blurted. “This is rock and roll! Ain’t nothing complicated about that.” Sure enough, the crowd started pouring into the aisles and up to the front of the stage. “Before Janis had finished the song,” Echols writes, “the entire audience was on its feet, and the main floor at the Garden started to shake so much some worried it might collapse.” Janis was going out with a bang.

Printed in orange and pink on a jet-black poster, 13¼″×19⅞″. Secondary info is set in caps from Helvetica. The Madison Square Garden logo uses Helvetica schmalhalbfett. The wide style used in mixed case is not part of the Helvetica family, though, but belongs to the similar Folio. No designer credited. The photo of Joplin is by Elliot Landy.

Once Upon a Dream is the fourth studio album by psychedelic rock band The Rascals, released on February 19, 1968.

The album cover design and the sculptures featured therein were designed by Dino Danelli (b. 1940), the drummer of the band. Aileen Winter is credited for the typography.

The band name and album title are both set in Chwast Art Tone (c. 1966) by Seymour Chwast (b. 1931).

[More info on Discogs]

Rare 1971 French pressing on Epic label, AKT and Gemini series. The band logo appears to be custom lettering closely modeled after Chwast Art Tone, a typeface that was exclusively available from Photo-Lettering in New York. The song titles are rendered in all-lowercase Pump Bold, issued by Letraset in 1970.

[More info on Discogs]

The self-titled debut by the Mexican psychedelic rock band Los Dug Dug’s was released in 1971, shortly after their appearance at the Avándaro rock festival, which took place 50 years ago. As we can see, this early logo (later changed to a more “normal” one for their third album) features a variation of Chwast Art Tone that it slightly different from the original, including the fatter D and G, the less curly U, the apostrophe, and the slimmer S. These deviations are all included in my Dogsmoke font that also was intended as a tribute to this band.

[More info on Discogs]

Chwast Art Tone in relatively early use for the cover of Soul Food by jazz pianist Bobby Timmons (1935–1974).

Don Schlitten’s design packages the soul jazz in a can, making a tongue-in-cheek reference to “canned music”, a derogatory term for pre-recorded (as opposed to live-performed) music. Art Tone’s bottom-heavy letterforms are shown with some perspective distortion, to match three-dimensional illustration. Such “circoflair techniques”, as Photo-Lettering, Inc. liked to call them, had become possible with phototype, and were realized with optical lenses. The specific variant is listed as “Dip Plumb Curve” in their Alphabet Thesaurus, Vol. 2 from 1965.

Seymour Chwast developed this peculiar typeface from a single letter a drawn for Artone Ink at Push Pin Studios in 1964. According to Steven Heller’s Design Literacy it was expanded into a full alphabet for the client and released by Photo-Lettering in the same year. It’s not yet shown in their 1965 catalog, though.

The album was recorded on September 30 and October 14, 1966 [Wikipedia] and comes with liner notes by Peter Drew dated Dec. 1966. Most sources state that the album was released still in the same year.

[More info on Discogs]

Two of Photo-Lettering’s “Circoflair” techniques, the “Dip Fan Curve” and the “Dip Plumb Curve”, as shown in the Alphabet Thesaurus, Vol. 2, 1965. See the full spread with more options in Nick Sherman’s Flickr photostream.

The back cover shows the title and the artist’s name in undistorted Art Tone, with track listing and liner notes set in News Gothic.

Seymour Chwast’s bottom-heavy Art Tone in use for two ads from 1969 by the Kelly-Springfield Tire Company. Founded in Springfield, Ohio by Edwin Kelly and Arthur Grant in 1894, it was acquired in 1935 by the Goodyear Tire and Rubber Company, who maintained it as a subsidiary until 1999 when it was integrated into Goodyear North America. It continues today as a major brand under Goodyear. The other text – “for mileage”, “Double the mileage built in”, and the copy – is set in different weights of Helvetica.

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.

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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.

“Old Fashioned” (No. 166) features two Western-style typefaces that probably originated at Filmotype in the 1960s. They’re both shown in an undated c.1974 Filmomaster specimen, as Van Horn and Quincy. The latter is also known as Amanda.

Covers for various clip books of line art issued in 1968 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.

The bottom lines use Alternate Gothic Compressed and Univers.

“Holidays” (No. 167) ft. Gonzales Jeanette with a custom star dot that echoes the fuse.

“Expressions” (No. 168) ft. Reklame. This old German typeface was adopted by Photo-Lettering and shown in their 1971 catalog as Reclame. The punctuation is from Pistilli Roman, see the comments.

“Strength” (No. 170) ft. West Behemoth with tight and overlapping spacing and the monocular g.

“Telephones” (No. 171) ft. Filmotype Gamma.

“Religion” (No. 172) ft. Baker Chalone.

“Entertainment” (No. 174) ft. Norton Vaudeville.

“Contests” (No. 175) ft. Eurostile Bold Extended.

“Atmosphere” (No. 480) ft. Playbill.

“Direct Mail” (No. 481) ft. Univers, Venus Extended, and Franklin Gothic Wide.

“America” (No. 482) ft. Egyptienne Bold Condensed.

“Summer” (No. 483) ft. Chwast Art Tone on an angle.

“Marine” (No. 484) ft. Kalligraphia.

“Western” (No. 485) ft. Bookman Swash Bold Italic

“Autumn” (No. 486) ft. Staudel Xenotype J.

“Science” (No. 487) ft. Britannic.

“Fall & Winter Sports” (No. 488). This narrow grotesk looks a lot like an outlined version of Schmalfette Grotesk, or maybe PLINC’s adaptation Swiss Gothic, but it seems the ampersand doesn’t match. Any insights are welcome. The same outlined style appears on Volk covers from 1964 and 1974, while the “Law & Order” booklet from 1966 uses the similar Permanent Headline.

“Transportation” (No. 489) ft. Permanent Headline.

“Christmas” (No. 490) ft. Inserat-Grotesk.

“Couples” (No. 492) ft. Whimzitype 3600. Illustration by Tom Sawyer.

“Groups” (No. 494) ft. Futura Light.

“Insurance” (No. 495) ft. Permanent Massiv. The small text on this cover is set in Helvetica.

“Occupations” (No. 497) likewise shows light caps from Futura. Illustration by Tom Sawyer.

“Women” (No. 499) ft. Smoke in all caps.

“Money” (No. 500) ft. more Futura Light.

“Spring & Summer Sports” (number unknown), ft. Eurostile.

“Register and Vote” from the Paste Pot & Scissors subseries (No. PP 105), ft. Pacella Monitor and Franklin Gothic. The small type at the bottom is in Eurostile.

“Announcers” from the Paste Pot & Scissors subseries (No. PP 107), ft. Photo-Lettering’s West Behemoth Italic Swash with swash alternates and overlapping glyphs.

“Luck” from the Paste Pot & Scissors subseries (No. PP 108), ft. Mansard (with contour), another face available from Photo-Lettering. It might also be Jim Dandy, a contoured variant of Slim Dandy by Lettergraphics.

“The Year” (No. PP109) ft. more all-caps Smoke, here with its peculiar Y.

“Clichés” (No. PP110) ft. Palette on an angle as well as an early use of PLINC’s Ballard.

“Borders” (No. PP115) ft. Clarendon caps.

This record cover for the “Old timers of the Grand Ole Opry” is one of about two dozen designed by Craig Mierop for Folkways Records. While Mierop successfully submitted two typeface designs to Photo-Lettering, Inc., he’s been more prolific as a graphic designer than as lettering artist. And obviously he’s a daring type user! For the title, Mierop chose Seymour Chwast’s bottom-heavy Art Tone, and paired it with another flamboyant typeface for the band name: Hobo caps with a shaded upper half plus contour, set on a curve. This variation of Morris F. Benton’s 1910 design was added by PLINC in 1966 and is shown in the One Line catalog as Hobo Carousel (see also this Byrds single).

Folkway Records:

The McGee Brothers, Sam (1894–1975) and Kirk (1899–1983), played as a musical duo for 50 years beginning in the mid-1920s. Steeped in the tradition of “old-time” string band music, Sam, on guitar, and Kirk, on banjo and fiddle, were joined in the 1930s with Arthur Smith on fiddle and banjo to form the Dixieliners. The McGees enjoyed a resurgence during the folk music revival of the late 1950s and early 1960s. During this period, musician Mike Seeger (The New Lost City Ramblers) reunited the McGees with Smith and in 1968 recorded their first album together. This is their only recording as a trio.

Cover photograph courtesy of Mike McGee.

Cover with typography in Chwast Art Tone and Orplid.

Groove is in the Art:

Vintage Hallmark booklet featuring small, removable posters. No date or design credit but I'm guessing 1970-1971. Contents have a strong Push Pin vibe. Maybe early work by one of their illustrators?

The fonts in use were all included in the library of Photo-Lettering, Inc., and shown in their One Line Manual of Styles from 1971. Several of them — Chwast Art Tone, Davison Impacta, Davison Display — were exclusively available from the NYC type house. West Bubble Gum Blockshadow was introduced in the 1969 Alphabet Yearbook.

“There’s only one thing wrong with the rat race … The rats are winning!” in Windsor Elongated.

“Never bite the foot that stomps your grapes”. This appears to be a slightly condensed version of Davison Impacta. The counters were either manually added, or available as alternates.

“They can’t fire us!!! … Slaves have to be sold.” This poster uses another face by Meyer “Dave” Davison: It is the “A” style from his Davison Display series.

“When you’re down and out lift your head & shout… HELP” Set in caps from Neue Aurora IX.

“It pays to be a nice person … about 9¢ an hour!” in West Bubble Gum Blockshadow.

“Things Are Never As Bad As They Seem … The’re Worse” in Goudy Heavyface Condensed Swash.

Cook-In was conceived by Kathleen Dunning Fisher for her “two girls, Suzanne and Vicki”. Cover design and illustrations by Loretta Trezzo. Published by David White Inc., New York City, January 1969.

The title appear to be custom drawn, loosely modeled after Seymour Chwast’s Art Tone (1964). The author’s name in bottom-heavy caps with contour represents an early use of Photo-Letterings’s Village Stocked a.k.a. Psychedelitype 5785 (1968).

Title page

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Shortly after being sentenced to jail time for the Eros periodical he started with Herb Lubalin, Ralph Ginzburg launched Fact magazine in 1964, again enlisting Lubalin as art director. Fact focused largely on political issues and was known for its scathingly satirical takedowns of everyone from Bobby Kennedy to Reader’s Digest to the entire American automobile industry (a young Ralph Nader contributed research on that topic). One issue focusing on the mental fitness of conservative presidential candidate Barry Goldwater even led to a lawsuit and eventually the closure of the publication.

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Following the hard-hitting style of the content, the publication’s design is similarly stark and upfront. Especially with the earlier issues, the covers were mostly simple, monochrome, no frills, and purely typographic – using very basic but well-considered settings of Times. Later issues would feature other common typefaces, with only a couple utilizing custom lettering.

As Alexander Tochilosky describes it for Flat File:

Economy was essential for the magazine’s budget, so Lubalin chose a small black and white format. The inside layout was a simple, quiet, two-column grid of Times Roman. The tone however was set by the striking, bold and text-only covers. Lubalin understood that Fact magazine was all about the attitude, and as a great art director knew when design should take a step back.

In typical Lubalin style, many of the covers are set with “TNT” (tight-not-touching) spacing, often with the text filling the page as large as possible.

Most of the type for the magazine appears to come from versions of common typefaces as offered by either Photo-Lettering and/or Aaron Burns & Co, Inc. This isn’t particularly surprising given that Lubalin often worked with Burns and Photo-Lettering’s founder, Ed Rondthaler. (Lubalin, Rondthaler, and Burns would eventually team up to launch ITC in 1970.) A promotional photo of Ginzburg and Fact co-editor Warren Boroson even shows a type specimen booklet from Aaron Burns & Co, Inc. scattered among rulers, sizing gauges, and previous issues of Fact.

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A photo of Ralph Ginzburg (standing, with hat) and Warren Boroson from an ad for The Best of Fact in the final issue of Fact magazine shows a type specimen book from Aaron Burns & Co., Inc.

In Tochilovsky’s write-up of Fact, he also describes the simple ingenuity of Lubalin’s design for the publication’s logo:

It was drawn by Tom Carnase, and based on Caslon 540—with the ‘f’ slightly modified to mimic the ‘t’. But the ingenious part is the addition of the colon. It’s not part of the name, but was Lubalin’s graphic invention. It’s genius because it makes you read the headline of the cover beginning with the word “fact”.

Below are all 23 covers of Fact, including both cover variants for volume 2 issue 2. The scans were made from originals in the Herb Lubalin Study Center of Design & Typography at Cooper Union. Many thanks to Alexander Tochilovsky for being so generous with the Center’s materials.

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Czechoslovak poster for Andrzej Wajda’s film adaptation (1976) of Joseph Conrad’s novel The Shadow Line (1916; Polish: Smuga cienia), designed by audio visual artist Milan Grygar.

[More info on Discogs]