The Muppet Show Book was published in 1978 by Harry N. Abrams, Inc. The book adapts material from the first two seasons of The Muppet Show, with illustrations by Tudor Banus.

The main text font used throughout the book is ITC Souvenir. The characters’ names and initials are each set in a unique font, see the image captions for details. A few minor characters’ names are in ITC Souvenir.

“Introduction” is in the roman style of Bookman Swash. The character-specific fonts are Art Gothic for Kermit the Frog; Sweetheart for Miss Piggy; Yagi Link Double for Sgt. Floyd Pepper; Benguiat Laurent (with Psychemat effect) for Dr. Teeth [edit: rather Bullseye, a copy of PLINC Capricorn, see comments]; ITC Neon for Zoot; Crayonette for Janice; and Shatter for Animal.

Second page of the introduction, ft. Interline for Statler & Waldorf (without the pattern fill in Statler’s case); Scorpio/Hoopla for Fozzie Bear; and Burst Caps for Crazy Harry. The sound effects (“BANG”, “HA HA HA …”) are in caps from Caslon No. 471/540 or similar.

ITC Bookman Demi with swash caps

“THE NEW GO-FER” is in Franklin Gothic Extra Condensed.

An outline version of Cooper Black is used for Scooter and Hobo for George the Janitor.

Reward poster for Kid Fozzie, ft. Figaro

The typeface chosen for Rowlf is Reklameschrift Secession.

Moore Computer features for Kermit’s robot doppelgänger.

“GONZO THE GREAT” uses more of the aforementioned Caslon caps. The character font is Lydia.

Sam the Eagle is presented in a chromatic setting of Stripes Caps.

Cloud Bank for Dr. Julius Strangepork and Countdown for Captain Link Hogthrob

The initial I is from Thunderbird.

The initial S is unidentified.

Microgramma Condensed is used for Nigel

The formal script used for “The Lives and Loves of Gonzo the Great” is Typo Script Extended.

Round Rosie is the font used for Vincent Price’s initials … 

… and Smoke is the one chosen for Uncle Deadly.

Dr. Bunsen Honeydew is set in Gemini.

Filmotype Pixie was spec’d for Hilda.

Another Bookman Swash

Manuscript Capitals for “Bein’ Green”

The P from Mira identifies Koozebanian Phoob.

Chianti is used for Robin.

Kermit the Pig is in an unidentified font similar to Rubens and Duerer.

Playbill is used for J.P. Grosse. On this page, the o’s in Scooter’s name are altered to look like his glasses.

The Berkeley Tribe is possibly the most famous “New Left” newspaper. Centered in Berkeley, California, it (like other publications) focused on revolutionary subject matter (Black/Women's Liberation, Gay rights, Antiwar Movements, etc.). Their headquarters were at multiple times bombed or shot, with the FBI surveilling their operation.

The masthead, like with many famous magazines, such as TIME, is a custom lettering.

Crediting designers for each issue can be tricky, as intimidation from attacks and police prompted staff to remove their names from the masthead. However, East Bay Media is noted to have served the tribe's publishing and at least some graphic design from 1971, the time of this issue here (it is possible other Berkeley area shops filled a similar role during the paper's run, too).

Early covers and hand lettering are credited to designer Gary Grimshaw, who possibly did not work on this particular specimen.

Shown here are the cover and a selection of eleven of the twenty-four pages, featuring most of the display fonts used in the editorial design at least once. Text is set in Univers and Century Schoolbook.

Headlines in Dom Casual (“The Unknown Defendant”) and Clarendon (“Justice We Don’t Expect From You”)

Publicity Gothic (“No Future Rev No Family”) and Clarendon

“Weather Sister Ripped Off At Flicks” is in Roberta.

Headlines in Antikva Margaret (“U.S. Bombs”) and Windsor Elongated (“Thoughts On Being Human”)

Grotesque No. 9 for “SIERRA” and “feedback”

Franklin Gothic for the “Pusherman” headline, De Vinne for “Human Culture Time-Line”

Cooper Black and Haas Inserat Grotesk for “War-Season’s Greetings from JAPAN” . The ad below features two weights of Blippo (equivalent to Burko and Harry) and City.

Profil for “OKINAWA”. The ad for Midnight Films uses Mistral.

More Inserat-Grotesk for “The Sacred Tree is Dead”. Times New Roman is used for the poem at the bottom right.

The “KILL ’EM” headline is set in Windsor. Smoke and Futura feature for the Free Store ad and Helvetica for the one by Sound City.

The “Masturbation” headline is in Jay Gothic. Fonts used in the ads include Flash (“Native Son”) and Commercial Script (“MANDRAKE’S).

Cover of issue 1. Franklin Gothic Extra Condensed is used for the cover text.

Mermaid was an American adult magazine first published in 1962 by Geemil Publications (not be confused with another adult magazine also called Mermaid, published from 1958 by Garden of Eve Publications).

The Mermaid logo uses all-caps Filmotype Party.

Cover of issue 2. Franklin Gothic Extra Condensed is again used for the cover text.

Cover of issue 3. The text immediately below the logo as well as the words “ADULTS ONLY” are in Futura Condensed. Other text is in Ludlow Condensed Gothic (Modernized).

Cover of issue 4. The text immediately below the logo is again in Futura Condensed [edit: or rather Tempo Heavy Condensed, see comments], while the other text is in Bodoni Campanile.

From Wikipedia:

Turning On is a collection of thirteen science fiction short stories by American writer Damon Knight. The stories were originally published between 1951 and 1965 in Galaxy, Analog and other science fiction magazines.

This is the first paperback edition, published as Ace G-677 in 1966, with cover art by Jack Gaughan and obliqued Caruso Roxy for the type.

While the blurb on the front cover uses two widths of News Gothic, the spine lettering is in it bolder sibling, Franklin Gothic.

The text on the balloon (“HAPPY BIRTHD”) might be in all-caps Franklin Gothic Wide.

This box set with twelve 7″ records containing a total of fifty party playtime songs was released on Playhour, a sublabel of Pickwick Records, and advertised in 1970. The collage on the cover is by Frank Daniel. The three main display typefaces are all from the catalog of Photo-Lettering: “50” uses numerals from West Barnum, “Party Playtime” is in caps from Caruso Roxy, and the Playhour logo on the back, the inner sleeve and the labels features Gonzales Jeanette.

[More info on Discogs]

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

Source: www.45cat.com dr.zoze /45cat (edited). License: All Rights Reserved.

“Ne Gledaj Me Tako I Ne Ljubi Me Više” single, Jugoton, December 1975, with the title set in caps from Futura Light

From Wikipedia:

Bijelo Dugme (transl. White Button) is a Bosnian (formerly Yugoslav) rock band, formed in Sarajevo, SR Bosnia and Herzegovina in 1974. Bijelo Dugme is widely considered to have been the most popular and the best-selling band ever to exist in the former Socialist Federal Republic of Yugoslavia and one of the most prominent acts of the Yugoslav rock scene and Yugoslav popular music in general.

Shown here are some of the bands album art and a concert poster, designed by Sarajevo designer Dragan S. Stefanović. The band logo, now an icon of the Yugoslav rock scene, is set in ITC Fat Face, in two tightly spaced lines, with the j pushing down the g.

The group disbanded in 1989, though it did see two revivals in 2005 and 2024. Also from Wikipedia:

Bijelo Dugme’s work remains popular in all former Yugoslav republics, the band often being considered one of the symbols of Yugoslav culture and their work being a frequent motif in various forms of Yugo-nostalgia.

Source: ru.pinterest.com Azra Duskan | Pinterest. License: All Rights Reserved.

Poster for a concert in Sarajevo on February 2, 1976, with small text in Bulletin Typewriter. The text in the upper left corner reads “Događaj meseca”, meaning “event of the month”.

Source: www.ebay.com 2you4ever. License: All Rights Reserved.

“Milovan” / “Goodbye Amerika” single by Željko Bebek with Bijelo Dugme, 1976. The diacritic was made from a tilde, and the first k was cropped.

Source: www.ebay.com zinkfilms (edited). License: All Rights Reserved.

“Džambo” / “Vatra” single by Ipe Ivandić with Bijelo Dugme, 1976. Note the mirrored g in the band name. The sans on these two sleeves is Horatio.

Source: www.45cat.com Js_and_Bs / 45cat (edited). License: All Rights Reserved.

The single sleeve for “Bitanga i Princeza” from March 1979 features ITC Fat Face for the title as well – with upside-down i’s. “Sa novog albuma” is added in Futura Black.

Source: sr.wikipedia.org License: All Rights Reserved.

Four album covers for Bijelo Dugme (1984), Pljuni i zapjevaj moja Jugoslavijo (1986), Ćiribiribela (1988), and Eto! Baš Hoću! (1976)

Source: www.deezer.com License: All Rights Reserved.

Cover for compilation album Ima neka tajna veza released in 1994 under the label of PGP-RTS. The title is set in Franklin Gothic.

Source: www.ebay.com bluejardhill. License: All Rights Reserved.

Box set with ten remastered albums on CD, City Records, 2004

Source: www.ebay.com recordsale berlin. License: All Rights Reserved.

1996 reissue of the compilation Singl Ploče (1974–1975) on HiFi Centar, with ITC Stone Sans for the title.

Source: www.ebay.com Da’Hub Australia (edited). License: All Rights Reserved.

1996 reissue of the compilation Singl Ploče (1976–1980), also on HiFi Centar. In these applications, the logo lost the dot on the j.

First-edition jacket for The Twilight of Briareus, featuring Gary Gillot’s Embrionic Triline for the title. John Middleton Murry Jr. (1926-2002) wrote the science-fiction novel under his pseudonym Richard Cowper. From Wikipedia:

According to Cowper, he wrote the book almost immediately after his novel Kuldesak was published successfully in 1970, and Twilight was “a more substantial work in every way”. His publishers rejected it, and despite his discouragement he started the novel Clone with the idea of satirising science-fiction people who did not like Twilight. His publishers accepted it and it sold well, after which they accepted Twilight, which sold even better.

[More info on ISFDB]

Resident Evil 7: Biohazard is a survival horror game developed and published by Capcom, initially released on January 24th of 2017. The players control Ethan Winters, a seemingly average man in search of his missing wife, Mia, who disappeared three years ago. After receiving an email from her, it led him down to a plantation in Louisiana. Released after years of excitement and some trepidation from fans and the industry alike, the game has been widely praised and is largely credited for reviving the Resident Evil franchise among other achievements.

Resident Evil 7 is the first entry to use Plak Extra Condensed for the franchise’s logo, replacing Compacta Bold which was used in prior games such as the original Resident Evil. “Biohazard” uses Rama Gothic Rounded. In-game, the user interface primarily uses Franklin Gothic Book, which actually fits the Southern Gothic aesthetic very well. Futura is used more sparingly as a heading font of sorts and Rodin is used exclusively for the subtitles, possibly for localization reasons. Digital similarly is rarely used but can be spotted in number counters and the main menu.

Main menu. The player navigates the menu using a tape recorder that uses Digital for the UI.

Settings menu

The loading screens in RE7 consist of a short synopsis of the current chapter.

Ethan Winters confronting a very evil resident

Inventory menu

Death screen

An alternate UI for Jack’s 55th birthday, one of many RE7’s frankly unhinged DLCs. Digital is used for the timer. “Are You Ready?” is in Lydian Cursive.

1983 album by Sly & Robbie and the Taxi Gang, released on their own Taxi Records.

The open letterforms casting a perspective shadow are from Alpha Sunrise, the dimensional style of Hiroshi Yamashita’s typeface family. “Taxi Gang” is in Letraset’s Revue. “Taxi Connection” appears to be Advertisers Gothic – also available from Letraset – with a custom C made from an O. The names of the Taxi Gang members on the side of the car are set in Franklin Gothic Extra Condensed.

In memory of Robbie (1953–2021) and Sly (1952–2026).

[More info on Discogs]

The teardrop-shaped letterforms of Smoke, appropriately suggesting an oozing substance, act as a subtle counterpoint to a graphic tightly-cropped close-up of Rick Baker’s gruesome make-up effects on this Super 8 film box art for The Incredible Melting Man.

Though dating back to the 1890s, the moment of glory for Smoke was the psychedelic era. The Doors’ Waiting for the Sun features one example. With its trippy associations, Smoke is perhaps not the obvious choice for a horror movie, introducing a slightly incongruous note into this striking design.

A cut-down ‘digest’ version of the AIP film, this Super 8 reel was released by Mountain/Ken Films in the late 1970s. Operating from an office on Wardour Street, they were one of the major operators in the home cinema market, prior to the advent of home video. Remarkably, via a deal with 20th Century Fox, they were able to release a version of Star Wars in the UK prior to the cinema premiere.

Read more in a 2024 article by Ged Jones on Derann Vaults.

A desperate masquerade trapped her in a maze of menace and terror.

The Looking Glass Murder is book #44 in the Arthur Crook series by Anthony Gilbert, the pen name of British writer Lucy Beatrice Malleson (1899–1973). First published in 1966, this is the cover of Pyramid Gothic’s paperback edition from 1968, with cover art by Lou Marchetti (1920–1992). The title typeface is the bold weight of West Cooper Nouveau Swash.

Close-up of Elektra’s 1966 logo, taken from the 1980 label design

William S. Harvey designed Elektra’s most recognizable logo in 1966. The label used this branding for 17 years before it adopted an overhauled identity (designed by Milton Glaser, type designer and master warlock of the graphic arts) in 1983. Reworked variations of this iconic design were later used by the label after it was relaunched by Warner Music Group in 2009.

The logo consists of an uppercase E (based on outlined Bingo, a decorative stencil designed by John Albert Cavanagh for his 1946 book Lettering and adopted by Photo-Lettering) directly above the word “elektra” (set in Phanitalian, a heavily flared decorative sans originating in the catalog of Vanderburgh Wells & Company and offered in the 1960s by Headliners in its Morgan Press collection).

Label for The Doors’ 1969 album The Soft Parade. This label design, as well as the logo, was first used in March of 1966 on Phil Ochs’ In Concert live album.

Catalog number and disc side indicator, “STEREO,” and album title set in Railroad Gothic (ATF; 1906) [edit: or rather Gothic No. 13 (Linotype), see comments]. Track list and credits set in Vogue (bold; Intertype; 1930-1946). Band logo is a custom-made sort.

Label for Clear Light’s 1967 self-titled album (circa 1970–1973 reissue). This label design, which features a butterfly carrying the E by its stem (alongside a 7″ design featuring a caterpillar), was first used in August of 1970 on Josh White's The Best of… album.

Band name set in Franklin Gothic (ATF; 1904–1913). Disc side indicator, catalog number and “STEREO” set in Erbar-Grotesk Condensed (Ludwig & Mayer; 1929). Track list and credits set in Spartan (ATF/Linotype; 1939), a copy of Futura, here with its distinctive two-story a. Address info is set in Trade Gothic Extended (regular; Linotype; 1959).

Label for Gamma’s 1979 self-titled Gamma 1 album. This label design, which is similar to the 1969–1970 design (only used on two LPs) but with a smaller logo, was first used in 1979 on Nino Rota’s soundtrack album for the film Hurricane.

Disc side indicator, catalog number, “STEREO” and band/album name set in Futura (bold; Bauer; 1927). Track list and credits also set in Futura (regular). Address info set in ITC Avant Garde Gothic (regular; ITC; 1970).

Front cover

The Silken Underground is a lesbian novel written by Vicki Spain and published in 1965 by Lancer Books under the Domino imprint.

The title uses Staudel Xenotype J. The tagline on the back cover uses Franklin Gothic Condensed. The rest of the text is in News Gothic Condensed.

Back cover

Front cover featuring Burke’s head in the clouds. Burke’s name (in yellow) and the album title (in white) are set in Filmotype Quiet, surrounded by a decorative border.

I Wish I Knew (1968) is the fourth studio album by soul/gospel singer Solomon Burke, his third for Atlantic Records after Rock ’n Soul four years earlier. Originally panned upon release for “playing it safe” right as the political climate had turned into a erupting volcano, it has become a minor classic in the 57 years since. The title track – penned by Billy Taylor and Dick Dallas – is a heartfelt confession of uncertainty over the possibility of being completely free, while Burke’s rendition of Allen Toussaint’s “Get Out of My Life, Woman” has been sampled (like a lot of other renditions of the song) by multiple artists – including by Dr. Dre on the intro track of The Chronic.

[More info on Discogs]

Back cover featuring rainbow motif. Artist name and album title are set in Franklin Gothic Condensed. Liner notes by Philadelphia DJ and Pennsylvania representative Rev. Louise Bishop are set in News Gothic (regular, bold, italic).

Close-up of back cover. Track list (bold) is also set in News Gothic, and so are the credits (regular). Address info is set in Monotype Clarendon Condensed.

Volume 6 is the fourteenth installment in the You Don’t Know Jack franchise, and the sixth general knowledge edition. Titled “The Lost Gold”, it is set in a strange dimension, with the goal to make enough money to free the pirate trapped inside. It was originally released on December 1st of 2003 and is hosted by Josh “Schmitty” Schmitsinstein.

While the YDKJ logo is once more in Franklin Gothic (see the dedicated post), the installment title on the eye patch uses Jack Lantern BB which had been released earlier that year. “Volume” is in Segoe or similar.

The game interface uses various weights and widths from Bureau Grot. This typeface family by David Berlow is based on predigital designs by Stephenson Blake, compare to Grotesque No. 8 and 7.

This Christmas-themed compilation album with twelve tracks from eight of their artists was released by Coral Records in 1958.

[More info on Discogs]

The headline face on the back cover is worth a closer look: it’s Ornata. The ornamented roman was designed by Oskar H. W. Hadank and cut as a metal typeface in 14 (!) sizes by the Klingspor foundry.

CD-ROM with users manual cover

Volume 3 is the seventh installment in the You Don't Know Jack series, and the third general knowledge edition. It was originally released on October 31st, 1997, and is hosted by Cookie Masterson.

The primary typeface still is Franklin Gothic – see the previous post about the YDKJ logo. Snell Roundhand Black is used for “schmivia!” on the CD-ROM label. In the game, Franklin Gothic is combined with Éclat to make the question segues.

CD-ROM label

From Wikipedia:

You Don’t Know Jack is a series of video games developed by Jackbox Games (formerly known as Jellyvision Games) and Berkeley Systems, as well as the title of the first You Don’t Know Jack game in the series. You Don’t Know Jack, framed as a game show “where high culture and pop culture collide”, combines trivia with comedy.

The logo of You Don’t Know Jack (YDKJ) uses all-caps Franklin Gothic, and specifically its Condensed width.

The franchise also uses other widths of Franklin Gothic. “YDKJ Classic Pack Bundle” combines the regular width with the Extra Condensed.

The logo as it appeared in a 1996 ad by Berkeley Systems. The text at the top uses Franklin Gothic Condensed and Extra Condensed. “The irreverent quiz show party game” is in some version of Helvetica Inserat. “Free Demo” and the URL use Eagle.

The logo as seen on the CD-ROM with You Don't Know Jack version 1.01, © 1995 Berkeley Systems, Inc., Jellyvison Inc. The version number is in FF Dynamoe.

Cover for You Don’t Know Jack: 5th Dementia is the thirteenth installment in the series, released in 2000. The secondary font is the bold italic style of ITC Benguiat Gothic.

This split album released by Colpix Records in 1964 contains six early songs by the Chad Mitchell Trio on the A-side and six by the Gatemen on the B-side. The name of the former, a vocal group formed in 1958 in Spokane, Washington, is shown in Rosenblum Zetzinkup. This animated semi-slab with contour was drawn by Richard Rosenblum and added to Photo-Lettering’s library shorty before.

Found by John, who is currently tracking down Uses for some of the ten typefaces designed by Rosenblum.

[More info on Discogs]