From Wikipedia:

Languages of Art: An Approach to a Theory of Symbols is a book by the American philosopher Nelson Goodman. It is a work of 20th century aesthetics in the analytic tradition. Originally published in 1968, it was revised in 1976. Goodman continued to refine and update these theories in essay form for the rest of his career.

The cover design on this 1976 paperback by Bobbs-Merill is uncredited, but does say on the back cover, only partially visible on this well-worn copy: “The cover design is based on a score for a dance and musical composition by Joyce Mekeel.” I believe it matches the original hardcover design from 1968.

Man In The Moon is the 1980 studio album by Nektar, and the first after 1977’s Magic Is A Child. The line-up only has keyboard player Alan “Taff” Freeman from that album, but Roye Albrighton is back on guitar after he left to pursue a solo career in 1976.

The band logo and album title are both using Westminster. This font was also used for the 2002 re-issue on CD on the VoicePrint label.

Cover design by Gerd Huss.

The uploaded scans are from Voiceprint’s CD reissue from 2002. Looking at the quality of the CD cover, it was probably taken from a scan of an LP sleeve instead of using the original artwork.

[More info on Discogs]

Higamos Hogamos – “Infinity +1” 12″ front cover (DC, 2009). [More info on Discogs]

Higamos Hogamos is a project by musicians Steve Webster and Toby Jenkins. La Boca designed the covers for the debut releases on D.C. Recordings, and unearthed a largely forgotten display heavyweight from the 1970s: Too Much was designed by Bill Seifert for VGC in 1974.

While the self-titled album (see further below) presents the fat shaded caps with an additional perspective shadow, the “Infinity +1” cover shown at the top features a bidirectional enlarge-and-repeat treatment. Similar to crop-and-repeat, it adds lines of different colors, from incandescent yellow to cool purple, for an impressive Big Bang effect.

This design is still being used as a de facto band logo.

The track names on the back are set in all-caps VAG Rounded. The stickers feature Westminster and Eurostile.

Higamos Hogamos – “Infinity +1” 12″ back cover (DC, 2009).

Higamos Hogamos – “Infinity +1” 12″ back and front cover (DC, 2009).

Higamos Hogamos – “Major Blitzkrieg” 12″ front cover (DC, 2009). [More info on Discogs]

Higamos Hogamos – Higamos Hogamos LP front cover (DC, 2009). [More info on Discogs]

Higamos Hogamos – Higamos Hogamos LP back cover (DC, 2009).

Yagi Link Double in use on the cover of a disco/funk single. The artist’s name is shown with the line gap filled in white color, probably inspired by the way the typeface was presented in a Letraset catalog from 1975.

This seems to be the only record by David Keat, released by Hansa International in 1977. The track names show tightly spaced caps from Gill Kayo. The record label’s name is set in Braintrust, which was a mechanically condensed copy of Westminster carried by German phototypesetting studio Fürst.

[More info on Discogs]

Leo Maggs’s Westminster on the cover of The Story of Cybernetics. Published in 1971 in Studio Vista’s Pictureback series which was distributed in the U.S. by E.P. Dutton.

The End of the Game is the first solo album by British blues rock musician Peter Green, who died on 25 July 2020, aged 73. It was recorded fifty years ago, in June 1970 – only a month after Green left Fleetwood Mac – and released later that year on Reprise Records. The cover typeface is Westminster, an early alphabet adaptation of the MICR style, drawn by Leo Maggs in circa 1965 and issued by Photoscript Ltd.. The cover was designed by Afracadabra.

[More info on Discogs]

From the newly launched New Metaphor Books:

Gazing into a crystal ball in 1971 — twenty-nine years ahead of the millennium — architectural thinker Charles Jencks published a provocative entry in Praeger’s Books that Matter series. Applying methods of forecasting developed in the scientific disciplines, Architecture 2000 explores predictions taken both from architectural forecasters and those in related fields.

An appropriate futuristic use of the obscure Westminster, perhaps the first typeface to alphabetize the MICR aesthetic. Its odd letter widths are owed to the fact that it is based on the proportions of Gill Sans. So British.

This is one of the funkier timelines I’ve seen.