Merch scarf designed by Ignasi Àvila Padró for Catalan artist gavina.mp3, using Eurostile Bold Extended and featuring excerpts from the lyrics of his song “Ho sento molt” (“I’m very sorry”). Distributed by Recreo Store, the scarf is currently sold out.

Volksans is the brand typeface used by SMD. The logo is based on Eurostile, with modications.

From their website:

For over 50 years, our pioneering world-first-engineering has supported our subsea partners to thrive in the toughest underwater environments, and grow sustainably with new capabilities.

Based in the North East of England, we’re continuing to grow. With a proud legacy, we deliver cutting-edge technology to help our clients achieve excellence underwater. Our robotics, engineering and technologies help the world to generate and distribute energy, to communicate, develop and evolve. Today we’re at the forefront of making offshore and underwater activity safer, more sustainable and more beneficial to people and the planet.

The Quantum EV is a remotely operated underwater vehicle (ROV).

Source: www.arcade-museum.com License: All Rights Reserved.

Japanese flyer. The Japanese fonts are unidentified.

Hippodrome, known as Fighting Fantasy in Japan, is an arcade fighting game by Data East. Per the game's flyer:

You are about to enter a different time, in a different world – a world where gladiators still fight in arenas of stone. And once a year, there is a worldwide competition to determine the best fighter on the planet, the creature with the strongest combination of power and skill.

The time for the competition has arrived. This is your chance to test your prowess against the mightiest warriors alive. Creatures are gathering from all over the planet to vie for the title of World Champion at the Hippodrome!

The titles on both the US and Japanese arcade flyers are based on Arnold Böcklin, to varying degrees of accuracy. The Japanese title is largely faithful, outside of the top left of the Y and a sword replacing the T in Fantasy. The American flyer on the other hand uses completely different glyphs for H and I. Interestingly, the pixelated version used on the title screen in-game has a much more accurate recreation of the original Arnold Böcklin font.

Source: www.arcade-museum.com License: All Rights Reserved.

American flyer with artwork by Frank Cirocco. Text is set in different styles from Eurostile which is also the typeface used for the Data East logo.

Source: retrovania-vgjunk.blogspot.com License: All Rights Reserved.

The American title screen for Hippodrome. Notice the more accurate depictions of H and I.

Source: retrovania-vgjunk.blogspot.com License: All Rights Reserved.

The Japanese title screen

The Seamus-O Building, 4700 Lorain Ave, Cleveland, Ohio, has a sign in caps from Eurostile.

Precious little is known about this building. It’s a shame, given how boldly its name appears.

This compilation with “The Very Best of Chevalier” brings together a dozen hits by French singer, actor, and entertainer Maurice Chevalier (1888–1972), including “Valentine”, “Louise”, “Mimi”, and “Thank Heaven for Little Girls”. It was released in 1964 by MGM Records.

The big caps for “CHEVALIER” appear to be custom lettering, loosely based on Broadway (Condensed). The rest of the uncredited cover design is exclusively typographic, featuring twelve styles from ten typefaces (Peignot is represented by two weights, and Ultra Bodoni by roman and italic styles). Broadway also appears in unmodified form, for “Did You Ever See a Dream Walking”. Can you spot the LTypI?

[More info on Discogs]

A badge created by Sam Potts for the Judge John Hodgman podcast.

Battle Mask, 1970. Secondary text is in Trade Gothic and Gothic No. 13 or similar.

Matterhorn is used for Don Pendleton’s The Executioner series from Pinnacle Books. Shown above is the first printing of the third book, Battle Mask, published in April 1970. The shorter bar in the first letter of the tt combo and the shorter bottom bar in E are likely contextual modifications. This masthead became the standard for the series starting with the the seventh book and the series’ many reprints until sometime in the late 1970s, several of which are shown below.

From Wikipedia:

The Executioner (a.k.a. Mack Bolan) is a monthly men's action-adventure paperback book series (published from 1969–2020) following the exploits of the character Mack Bolan and his wars against organized crime and international terrorism. The series has sold more than 200 million copies since its 1969 debut installment, War Against the Mafia.

The regular series includes 464 novels (as of December 2020 when the series ended). […] The Executioner was created and initially written by American author Don Pendleton, who penned 37 of the original 38 Bolan novels (he did not write #16).

War Against the Mafia, 1972 (8th printing)

Death Squad, 1971. Text in the angled band is in Eurostile Bold Condensed and the synopsis in Helvetica Bold.

Miami Massacre, 1970. Text in the angled band is in Franklin Gothic and the synopsis in Helvetica Condensed.

Continental Contract, 1971

Assault on Soho, 1978. Matterhorn is paired with two weights of Helvetica Condensed.

Nightmare in New York, 1971

Chicago Wipe-Out, 1978

Vegas Vendetta, 1979. Text in the angled band is in Akzidenz-Grotesk Condensed and the synopsis in Trade Gothic Bold.

Caribbean Kill, 1972

California Hit, 1972

Boston Blitz, 1974

Washington I.O.U., 1978

San Diego Siege, 1972. Cover art by Gil Cohen.

Panic in Philly, 1973. Cover art by Gil Cohen.

Sicilian Slaughter by Jim Peterson, 1973

Simply wonderful off-brand typography makes wonderful use of Aztec, supported ably by an understated Eurostile Extended. This example represents one of three different English language editions of this title, all of which feature interesting font combinations – this one nudges past the post for me though, for novelty alone.

The novelization of David Cronenberg’s Videodrome was written by Dennis Etchison (1943–2019) under the pen name Jack Martin.

Aldiviva is the typeface used for the name of Sassy009.World, the website of Oslo-based musician Sunniva Lingård a.k.a. Sassy 009. Additional fonts that appear on the homepage include Eurostile for “Sassy Chat”, Druk Wide for “Blue Racecar”, and Carlista Buttery for “Here Comes The Weekend”. “Heart Ego” combines stretched Helvetica Inserat or similar with Signerica, and “Mystery Boy” remains mysterious for now. Text and UI elements use Neue Haas Grotesk and TWK Everett Mono.

Crystal Eyes Stalk at Midnight album cover

Album and promo art for Sean Wolcott’s 12th album, Crystal Eyes Stalk at Midnight. Macbeth is used as the primary display typeface, along with Harry supporting. Futura can be seen in the Clockwork Records logo, and Eurostile was used for the BGM logo along with the catalogue number.

For the promo posters, a variety of fonts were used including Nuevo Passion (a 2013 digitization of Mecanorma’s Contest), Cooper Black, and ITC Serif Gothic. Akzidenz-Grotesk Condensed is used for body copy throughout the cover and promo posters.

Crystal Eyes Stalk at Midnight vinyl with obi

Crystal Eyes Stalk at Midnight promo poster #1

Crystal Eyes Stalk at Midnight promo poster #2

Crystal Eyes Stalk at Midnight promo poster #3

Crystal Eyes Stalk at Midnight promo poster #4

An album from the legendary Wackie’s record label based in the Bronx, active in the late 1970s and 1980s. Helmed by Lloyd Barnes, it became an important place for roots reggae and dub productions with many artists coming from Jamaica to get the special Bullwackie treatment.

The album’s typography is constructed using dry-transfer lettering, mainly Letraset. It’s interesting to see an X-Acto knife reproduced on the cover. It’s shown next to a microphone, a reel-to-reel tape, and what looks like a ruler. Perhaps, a nod to the way the cover is made? The bulk of Wackie’s album covers were very much in the pared down, lo-fi style, appropriate to the sound of the label itself.

The Presenting line is set in Tintoretto. the rest of the type on the front is set in Raphael, and Eurostile.

Note that the images shown are from the reissue from 2005, which scanned the original covers and reproduced them. Early 2000s saw a big interest in the Wackie’s label and many reissues were published in Germany by Basic Channel at that time.

The album was designed Leslie A. Moore, who ran LAM Graphics International design studio, specializing in album covers. You can see more of Leslie’s work at discogs.com

Back of the album is dominated by Bodoni Bold, Times New Roman, and Eurostile. The credits of musicians on the back are curious in that they use the caps from Bodoni, and lowercase from Times New Roman. This certainly is easy to do with dry-transfer lettering.

Original back cover with the distribution credits to Wackie’s and the year at bottom right

The DW-5600E-1V, an entry-level watch in the 5600 lineup and most people’s first introduction to the G-SHOCK brand.

The G-SHOCK 5000/5600 series of digital watches (alternatively named the Square G-SHOCKs) gives the Casio F91-W a run for its money. Its high versatility, ease of use, and legendary reliability makes it one of the most popular watches, worn by virtually everyone and having hundreds of models in its lineup. The 5000 series was launched in 1983, with its modern and more accessible counterpart – the 5600 series arriving in 1987.

In traditional fashion, Casio uses a lot of text printed on the watch’s face and carved into the resin case to describe features and controls. While some models can differ in color and layout – sometimes heavily so – Casio continues to use Eurostile in both its Regular and Extended width and regularly using weights from Regular to Bold. The large casing makes the already big text even more readable up to an arm’s length.

A closeup of the DW-5600E-1V

An authentic DW-5600C, the very first G-SHOCK to be manufactured and released. The case layout hasn’t changed much if at all since release, with modern versions and reproductions of old G-SHOCK's adhering to the same basic framework.

The DW-H5600-1, a much more modernized 5600 with a clearer display and extra features for active sports

The DW-5610UU-8, G-SHOCK’s “take on gorpcore fashion” with a heavily reduced case design, only featuring text for the buttons.

My own square G-SHOCK, the G-5600UE-1. This newer model along others also feature a different font design for the date.

Produced by Bodleian Library Publishing, Type Designers of the Twentieth Century written and designed by David Jury explores the many developments typefaces have experienced through the twentieth century. The book presents 37 type designers working at different times and with different technologies, how they have reacted to technological and cultural changes and the typefaces they created.

The book is typeset in Enigma Text with Shaker used for captions. Cover and title page feature Eurostile.

The humble, ubiquitous yet legendary Casio F91-W – a digital watch worn by virtually everyone from middle-school students to world famous celebrities – utilizes a lot of text on its case that quickly describes its features and controls.

Most of this text, including the Casio logo, is set in Eurostile Extended Regular and Medium. “Alarm Chronograph” is set in the regular-wide Medium weight and the “F91-W” text seems to be using Neue Helvetica Extended Black. The heavy usage of large, wide text on such a small case makes it very readable and easy to follow the watch’s controls. The watch’s descendants, which mainly fall under the “F-91W Series”, reuse the same case design with some minor alterations.

A closeup of the F91-W

A green variant of the watch, known as the F-91W-3

My own F91-W

Vol. 1, Electronic Moods from Budapest to Brazil

In June 1999, Belgian lounge label Life Enhancing Audio released a compilation of downtempo chillout tracks named Transatlantik Lounging (Electronic Moods from Budapest to Brazil), which then spawned three sequels by 2001.

Judging from the k whose diagonals meet the stem in a point and the closed 4, the title typeface is URW’s Nimbus Sans Black Condensed Italic. Linotype’s equivalent, Helvetica Inserat, is distinguished by an open 4. A light extended style of Eurostile serves for the label name and the text on the bottom of the covers.

[More info on Discogs]

Vol. 2, Indigo Moods and Afro-Latin Grooves

Vol. 3, Exotic Vibes, Mystik Moods and Carribean Cool

Vol. 4, Broken Beats, Slo-Mo Grooves and Far-Away Moods

Gemini is a 1999 album by Belgian electronic/downtempo artist Sven Van Hees.
Its cover, designed by the Re:peat studio (part of the Belgian record company N.E.W.S), uses the following: Clarendon Bold Expanded for the artist’s name and “Cosmic Lovegrooves”, Compacta Italic with an enlarged lowercase e and arrowheads added to the I’s for the title, and Eurostile Light Extended for the tracklist and the label name, Life Enhancing Audio.

[More info on Discogs]

Since 2010, the AUTO MATIC OPEN has been an annual open air festival for electronic music in Augsburg, Germany. For the 2022 edition, MMW Studios created a black-and-white identity based on patterns and referencing gritty ’90s rave parties visuals. The b&w aesthetics is reminiscent of cheap photocopied flyers.

The typographic choice reinforces the ’90s techno scene references with Eurostile and Forward used in tandem, always in all cap. Both fonts share very square curves, even if Eurostile does it in a way subtler way than Forward with its straight sides. Forward is often used in a dazzling pattern-in/pattern-out way. MMW created a monogram used almost like a logo composed from the three initials, with the A and the M embracing the upper curve of the rotated O.

If you zoom in on the attendants’ wrists, you can see the custom wristbands featuring the fonts.

Front cover of book 1, The Invasion

Animorphs is a series of young adult science fiction novels created by K.A. Applegate and published by Scholastic from 1996 to 2001. The cover illustrations are by Peter Bollinger (book 1), Tim O'Brien (book 2), and David B. Mattingly (books 3 to 54).

The Animorphs logo uses stretched Ramiz. Eurostile is used for the title, author’s name, and tagline on the front cover. The blurb on the back cover also uses Eurostile, except for an initial capital from Ramiz. The interior uses Trade Gothic, with Ramiz for chapter headings and the first capital of each chapter.

Later printings may have a promotion for the TV series adaptation (which aired from 1998 to 2000) on the front cover. One version has the text “Watch Animorphs on Nickelodeon” in Template Gothic Bold and Escalido Gothico, and “TV” in Graham Bold; another has “Watch Animorphs on TV” in Eurostile, Ramiz, Template Gothic and Escalido.

Front cover of book 2, The Visitor

Back cover of book 44, The Unexpected

Book 1, page 1

Front cover of book 21, The Threat, including a TV promotion at the top right

Detail

Front cover of book 49, The Diversion, including a TV promotion at the bottom left

Heartbeat (November 1981) utilises contoured Helvetica and Eurostile Extended for the album title and artist names respectively.

Chris & Cosey, sometimes known as Carter Tutti, are a musical duo formed in 1981, consisting of couple Chris Carter and Cosey Fanni Tutti, both previously members of industrial music pioneers Throbbing Gristle. Shown here are the covers of their first four albums, released between 1981 and 1985 on Rough Trade.

[More info on Discogs]

Trance (May 1982), featuring Caslon Antique for the title and artist name, and Melior for the name of their side project at the time, Creative Technology Institute (CTI)

Songs of Love & Lust (January 1984) features Phyllis, alongside University Roman.

Techno Primitive (stylized as Technø Primitive, 1985) keeps things simple; using only Antique Olive in two weights, Black and Nord.

Fonts from the Flea Market 1391

Antonio Tabet’s Hot Dog (Mecanorma, 1975) in early use on the sleeve for a single by Stephan Forman. The chansonnier’s name is added in (poorly spaced) Eurostile caps.

[More info on Discogs]