From Wikipedia:

Le Viager is a 1972 French comedy film directed by Pierre Tchernia and starring Michel Serrault, Michel Galabru and Claude Brasseur, adapted from a script by René Goscinny, the creator of the Asterix comics.

In Hungary, the film was released in 1973, under the title Saint Tropez(-)be költözünk (“We’re moving to Saint Tropez”). The poster was designed by Zoltan Kálmánchey (1942–1999), featuring an illustrated version of a hand gesture with a wide array of meanings, some of which are specific to certain countries.

For the typography, Kálmánchey contrasted two typefaces that, like the film, both originated in France. Stylistically, they couldn’t be further apart. Spring is a twisting hippie extravaganza with unconventional weight distribution and a huge helping of ball terminals. Drawn by Bernard Jacquet, the lowercase-only design was issued by Mecanorma in or before 1971. In 2005, Rebecca Alaccari digitized it under the name Jojo.

The wide streamlined sans looks a lot like Frutiger’s Univers. In fact, it’s Brasilia. This French neo-grot with extra-small apertures started out as a lowercase design by Albert Hollenstein. The caps used here were added by Albert Boton – who started his career at Deberny & Peignot, working under Frutiger. In 1958, Boton joined Équipe Hollenstein.

A while back, Stephen brought up Brasilia here, and mentioned how this wide mid-century grotesk from France wasn’t only named after Brazil’s then brand new capital city, but might also have taken stylistic clues from its architecture.

In 1967, Brazilian designers appropriated the Brasilia typeface for their purposes. This is the cover of the first annual by the Clube dos Diretores de Arte do Brasil, the Brazilian Art Directors Club. The club’s name is set in all-lowercase letters, with a single lowered B for “Brasil”. Rotated by 90 degrees, the line represents a book spine cutting a swath through a wall of similar annuals from others countries such as the United States, Switzerland, the United Kingdom, and France, proudly claiming its place among them.

The cover was designed by Eduardo A. Bretones, with art direction from Sami Mattar and photography by H. Franceschi. The annual was edited by Inaldo G. Carvalho and published by Rio Gráfica. A copy is currently available from Estante Virtual.

Via design_ref, a project aimed at “recovering part of the visual memory of Brazilian graphic design and putting it back into circulation.” Their Flickr stream is sadly laying dormant since a few years, but it still is a great resource.

This is a Spanish dictionary of the Bible based on Herbert Haag’s Bibel-Lexikon and on Bijbels Woordenboek, by A. van den Born and other specialists. The jacket showcases the characterful lowercase of Albert Hollenstein and Albert Boton’s Brasilia which was issued by Hollenstein just a few years before.

Brasilia is something like an extended Helvetica or Folio but with some extra French swing. Or Brazilian swing, as they saw it — because, according to type historian Maxim Zhukov, the typeface was inspired by the architecture of Brazil’s brand new capital city. That rings true: Niemeyer’s buildings tend to have a horizontal orientation, with lots of undulating curves (a, s) and dramatic overhangs (closed apertures).

A striking use of Zan for the title of the paperback, a typeface designed by Albert Boton, the designer of Eras and Black Boton. Curiously, this cover is a double bill for Boton with a use of his more elusive Brasilia compact for the subtitle and author name. The logo of publisher Calmann-Lévy appears to be in caps from Futura Extra Bold Condensed.