Touching Jesus is an album by American Pentecostal televangelist, pastor, media mogul, and gospel music artist Jimmy Swaggart, released by Jim Records in 1974. Outside of his circles, Swaggart is “known for scandals involving prostitutes in 1988 and 1991 and revolutionary groups accused of war crimes in southern Africa.”

Giorgio is used for the title. Swaggart’s name is in Marvin – featuring a custom J and an upside-down M used as W – with Franklin Gothic below. The name of Christian singer Dwain Johnson is in Venus Bold, and the wide sans appears to be the Extended style of Adonis.

The record label information at the bottom has Times and Helvetica, with Libra for “The Golden Sound”.

[More info on Discogs]

The No-Tel Motel is situated on 2425 N Oracle Rd in Tucson, Arizona. The sign features Giorgio (VGC, 1966). It’s unclear when it went up. Back in 1956, the place was known as De Anza Motel.

Book jacket of the 1975 edition, Franklin Watts, New York

A waterfall of all-caps letters lures the reader into Monsters, Monsters, Monsters. The anthology of horror stories selected by Helen Hoke was published by Franklin Watts in 1974. The jacket of the first edition featured Giorgio on the cover (see below). It was replaced with Eckmann for a 1975 printing. The included authors are Joseph Payne Brennan, Eric Frank Russell, E.F. Benson, A.W. Reed & Inez Hames, Ray Bradbury, Edgar Allen Poe, Owen Rutter, H.G. Wells, Jacynth Hope-Simpson, Arthur Conan Doyle, Saki, Ambrose Pierce, and H.P. Lovercraft. The book contains pictures by Charles Keeping.

[More info on ISFDB]

Book jacket of the first edition, Franklin Watts, London and New York, 1974

The interior appears to be largely identical in both editions. This is the title page from the 1975 book.

Table of contents, with tabular oldstyle numerals for the page numbers

Story opening with the title in Giorgio. The text typeface is Plantin.

Klarna made quite the splash this year with their series of commercials played during Super Bowl LV entitled “The Four Quarter-Sized Cowboys” starring Maya Rudolph. What stuck out to me was the use of VGC's 1966 VGC International Typeface Design Competition winner Giorgio for the titles. The custom Klarna font by Letters from Sweden is also visible once or twice. The Drum has an extensive list of credits on their site.

“Communications” from the Paste Pot & Scissors subseries, ft. Mike Hinge’s Hinge Computer. Illustartion by Tom Sawyer.

Covers for various clip books of line art issued in 1970 by Harry Volk Jr. Art Studio, Pleasantville, New Jersey. The series provides a glimpse into the topics that were in demand by the press – and by the media in general – in the United States at the time. The covers paint a slightly more progressive image than those from a decade before, e.g. with a women in the driver’s seat (for “Transportation”, see below). The vast majority of the portrayed people still is white and male. The cover for “Communications” (above) with three protesting women is an exception.

The series is also a snapshot of what was in fashion in display typography. The chosen faces – almost each cover features a different one – are diverse in style. Many were issued only shortly before. There are several exclusive designs by the NYC-based typesetting studio Photo-Lettering (Hinge Computer, Brave and Free, Calendar, Microcircus, Benguiat Indian, Bauhaus Prisma, Bordonaro Black Magic, West Kangaroo) and also a few recent releases by VGC (Giorgio, Antikva Margaret).

See also the dedicated post about the subseries titled Grafika which was introduced in 1970. For more information on Harry Volk Jr. Art Studio, see the post about the clip books issued in 1955.

“Happy Birthday” (No. 190) ft. Davison Dimensional (1969). The small text is in Helvetica.

“Holidays” (No. 191) ft. Brave and Free with stretched letterforms.

“Travel” (No. 195). While the title is set in caps from Georg Trump’s City fett, rasterized and repeated at varying angles like stamps in a passport, the names of the destinations are hand-lettered. Some are probably based on existing faces, e.g. “Orient” appears to emulate Benguiat Newlock. “Greece” might be patterend after Copeland Trillium.

“Religion” (No. 196) ft. Solemnis. “18th Anniversary Issue” uses tightly spaced Futura Light.

“Winter” (No. 197) ft. Giorgio (Giorgio Giaiotto, 1966).

“Men” (No. 198) ft. Profil. Illustration by Tom Sawyer.

“Women” (No. 199). Illustration by Tom Sawyer. The constructivist stencil caps are from Futura Black.

“Holidays” (No. 200) shows tightly spaced lowercase Clarendon.

“Crowds” (No. 201) ft. Filmotype Vigus. The portrait format and the use of ITC Avant Garde Gothic Light as secondary typeface suggest that this was a late edition, already in the style used in subsequent years.

“Groups” (No. 526) ft. Calendar (1969).

“Transportation” (No. 527). Illustration by Tom Sawyer. The typeface is PLINC’s Microcircus, a squooshed variation of Microgramma/Eurostile.

“Insurance” (No. 529) again features Microcircus.

“Western” (No. 533) ft. a depiction of a Native American with feathered headdress. The type was apparently chosen for its name – it’s Benguiat Indian.

“Food” No. 539 ft. Prisma Graphic.

“Human Relations” (No. 541) in Cartier (Carl Dair, 1967), with slightly stretched letterforms.

“Education” (No. 542) ft. caps from Antikva Margaret (Zoltán Nagy, 1966).

“Handyman” (No. 543) ft. Goudy Oldstyle Bold, with a shortened ascender for d.

“The Golden Years” (No. 544) ft. Augustea Open. Illustration by Tom Sawyer.

“Teens” (No. 545) ft. Bauhaus Prisma K (1970).

“Family” (No. 546) ft. Jana (1965). Illustration by Tom Sawyer.

“Sales” (No. 547) ft. Eurostile stretto. Illustration by Tom Sawyer.

“Spring & Summer Sports” (No. 548) ft. Permanent Headline in solid and open styles.

“Worry-Fear” from the Paste Pot & Scissors subseries (No. PP132) ft. Black Magic by Lewell Bordonaro.

“Son of Little Guy” (No. PP136) ft. West Kangaroo Demibold, an informal face with horizontal stress by Dave West.

“Old Fashioned” (No. 186), featuring a modified version of Othello or similar for the headline. It’s distinguished by notches in the counters, descending stems, and tiny serifs (like Rubens or Hess Neobold). [Edit: It’s Davison Bolero, see comments.] Like the pictured locomotive, Othello was old-fashioned at the time of this booklet’s publication: Originally designed by Gustave F. Schroeder in the late 1800s, it was revived by Morris Fuller Benton for American Typefounders (ATF) in 1934.

Covers for various clip books of line art published in 1969 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.

“Science” (No. 523) is at the opposite end of the spectrum. The depiction of an astronaut in front of the Apollo 11 Lunar Module Eagle is accompanied by the futuristic Eurostile Bold Extended, Aldo Novarese’s extension of Microgramma, originally designed by Alessandro Butti for Nebiolo in the 1950s. As in “Old Fashioned”, the bottom lines use Alternate Gothic Compressed and Helvetica.

“The Wedding” (No. 178) ft. Koch-Antiqua-Kursiv.

“Office” (No. 180) ft. illustration by Tom Sawyer and the trendy Amelia.

“Famous Folk” (No. 181) ft. Don Quixote and Visa.

“Winter” (No. 185) ft. Filmotype Quentin.

“Entertainment” (No. 187) ft. Tacan.

“Crowds” (No. 502) ft. Grotesque No. 9 in italic caps.

“Senior Citizens” (No. 503) ft. Eurostile.

“Circus/Fair” (No. 504) ft. West Barnum.

“The Farm” (No. 506) ft. Neil Bold. Illustration by Tom Sawyer.

“Summer” (No. 507) ft. York. Illustration by Tom Sawyer.

“Medicine” (No. 508) ft. York.

“Industry” (No. 511) ft. Giorgio (VGC). Illustration by Tom Sawyer.

“Executives” (No. 518) ft. Filmotype Veteran.

“Service” (No. 519) with what looks like an apocryphal Cooper Black, obliqued with a fancy S.

“Women” (No. 521) ft. Calendar.

“Couples” (No. 522) ft. obliqued caps from Futura Dot.

“Occupations” (No. 524) ft. more Eurostile Bold Extended.

“Ad Starters” from the Paste Pot & Scissors series (No. PP117), featuring Corvinus and a regular width of Microgramma. The small print here includes Futura, Futura Condensed, and News Gothic.

“Time” (No. PP118) ft. Filmotype Quincy.

“Hands” (No. PP119) ft. Thalia.

“Animals” (No. PP120) ft. Neuland.

“Elfie & Gremmie” (No. PP122) ft. Whimzitype 3600, stretched.

“Eye, Ear, Mouth” (No. PP124) ft. an early use of Davison Jumbo.

“Design Devices” (No. PP128) ft. Urban.

“Homes • Buildings” from the Paste Pot & Scissors series, ft. Twentieth Century.

Late ’70s, early ’80s covers for Frank Herbert's Dune series. Cover art by Bruce Pennington. Books published by New English Library Books.

There are a ton of different editions of the Dune series, as you can see on arrakis.co.uk. I really like the Hebrew and Brazilian editions, but my favorites are four UK covers illustrated by Bruce Pennington.

The titles of the books are set in Giorgio. Giorgio is like a psychedelic slab serif. The tagline text has been set in Monotype Grotesque.

Collage with dozens of different versions of Dune. The type has been set in so many different ways. Titles can be seen set in a yet unidentified typeface (or is it lettering?) digitized as Orthodox Herbertarian, Desdemona aka Quaint, Revue, Rubens, Plantin, Alpha Midnight, Avant Garde Gothic, Kabel Black, Albertus, Engravers, Trajan, Techno and many more.

Read more about Columbia-Minerva’s knitwear catalogs and their reason for existence at Scenario. See also Best of the Vests.