Christof Gassner’s Escher-esque Vexier for the one sheet (27″×41″) poster to an equally twisted movie; Space Mission to the Lost Planet (Independent-International, 1970). From Heritage Auctions:

Originally known as Horror of the Blood Monsters, this melange of a movie was put together by schlock auteur Al Adamson out of … not one … not two … but three different films, including a black and white Filipino monster movie. With additional scenes (shot by Vilmos Zsigmond of Close Encounters and The Deer Hunter), Adamson made a mess of a movie about space vampires and the scientists who travel to their planet to stop them. When Blood Monsters flopped, Adamson rereleased it four times under different titles, including this one. […] The artwork of stars John Carradine, Robert Dix and Vicki Volante was done by well-known comic artist Gray Morrow.

The actors’ names are set in Eurostile, “A fantastic adventure to a distant, hostile world!” in Univers Bold Italic.

Detail: originally drawn in outline, Vexier’s letterforms were filled in for more heft and better readability, sacrificing much of the design’s perspective ambiguity. With this treatment, it resembles an inverted version of Apache (Face).

Addendum to the post about the first volume of Touchdown Illustrated from 1973.

In 1977, the designers of Touchdown Publications still relied on catchy faces from Letraset’s range of rubdown type. For the cover announcing the 1977 edition of the Oregon rivalry game, they went with Vexier. This “impossible” design by Christof Gassner offered the possibility to embed the teams’ colors in the letterforms; green and yellow for the Ducks and orange with white for the Beavers.

A perfect use of Vexier, the “impossible” typeface devised by Christof Gassner, which was chosen as one of the winners of a competition held by Letraset in 1973:

Vexier attempts to develop a typeface which can be viewed from two diametrically opposed aspects. This causes the reader to change his viewing angle, creating confusion, uneasiness; and should inevitably attract attention.

For her jacket design, Fiona MacGregor combined Vexier with M.C. Escher’s surrealist Bond of Union from 1956. First published in 1960 by Basic Books, New York, this is the hardback edition by Julian Friedmann Publishers, London, from 1978, with an introduction by Arthur Koestler.

From Wikipedia:

The Unconscious before Freud: A history of the evolution of human awareness is a 1960 book about the history of ideas about the unconscious mind by the historian of science Lancelot Law Whyte. […] Whyte has been credited with showing how the predecessors of Sigmund Freud, the founder of psychoanalysis, established the concept of the unconscious.

Typographie: Schrift und Graphik mit Letraset was an exhibition that ran in Darmstadt, München, and Zürich in 1978–79. This 8×8-inch 72-page catalog was designed by Christof Gassner and features his own work along with dozens of other designers who used Letraset.

Design: Christof Gassner

Design: Helmut Langer

Design: Christof Gassner. Promotional material for Deutsche Letraset. The last image was used for the cover of LetraTime.

Design: Friedrich Friedl

Design: Christof Gassner. German translation of a quote by Henri Michaux: “Qui s’est abaissé devant une fourmi, n’a plus à s’abaisser devant un lion.” – “Those who have bowed to an ant do not have to bow down before a lion.”

Design: Christof Gassner. German titles of various plays by Shakespeare: A Midsummer Night’s Dream, Much Ado About _, King Lear, Richard III. For more, see Schauspiel im ZDF.

Design: Christof Gassner. Various film titles: Le Quai des brumes (Port of Shadows), The Third Man, Daddy Long Legs, Scarface

A recording of the traditional “Portsmouth” was English musician Mike Outfield’s biggest single in the UK. Outfield is perhaps best known for having a section of his instrumental Tubular Bells featured in the 1973 film The Exorcist.

The chromatic dimensional at the top is Christof Gassner’s Vexier, making a rare appearance.