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]

This paperback edition of Invaders from the Infinite was published as Ace Science Fiction Classic M-154 about 1966, with cover art by Gray Morrow. John W. Campbell’s science fiction novel was first published by Gnome Press and Fantasy Press in 1961.

[More info on ISFDB]

Mind Field was a YouTube Originals show hosted by Michael Stevens, the creator and host of the YouTube channel Vsauce. It ran for three seasons from 2017 to 2019.

Peignot features heavily in the show's branding and on-screen typography. In addition to the main logo, the typeface can also be spotted in lower thirds, title cards, and figures throughout the show's run.

Frame captured from Season 3, Episode 6, “How to Talk to Aliens”

Title card from Season 3, Episode 1, “The Cognitive Tradeoff Hypothesis”

Title card from the special episode “What Is the Scariest Thing?”

Frame captured from the special episode “I Watch 3 Episodes of Mind Field With Our Experts & Researchers”

Frame captured from Season 1, Episode 7, “In Your Face”

Frame captured from Season 3, Episode 8, “Mind Reading”

First edition (hardcover) by Bartholomew House, 1967, illustrated by Bill Wenzell. The illustrations on the front of jacket are by Roy E. LaGrone. Secondary typefaces include Craw Clarendon Condensed, Filmotype Harmony (or Photo-Lettering’s copy, Almadine Script), and Century Expanded Italic.

Coffee Tea or Me? was advertised as “the uninhibited memoirs of two airline stewardesses”, and credited to Trudy Baker and Rachel Jones. In fact, it was ghost-written by Donald Bain. The 1967 hardcover dust jacket features Caruso Roxy, set in all caps. The same typeface was also used for the paperback cover, now bigger and in mixed case, as well as for the three sequels published until 1975. In 1973, the book was made into a film.

Caruso Roxy is a typeface that we’ve come to associate with the swinging 60s.

Coffee Tea or Me? The uninhibited memoirs of two airline stewardesses. First Bantam edition (paperback), November 1968 with cover art by Bill Wenzel and small text in all-caps News Gothic.

The Coffee Tea or Me Girls’ ’Round the World Diary. First edition (hardcover) by Grosset & Dunlap, 1970. The multilingual toasts are stereotypically added in more or less fitting typefaces: Peignot (French), Post-Antiqua (Hebrew), Cloister Black (German), Centaur (Spanish), Akzidenz-Grotesk Extended (Scandinavian), Jessen-Schrift (Greek), Americana (English), Mandarin (Japanese), and Century Schoolbook (Italian).

Jacket and cover with spine lettering

The Coffee Tea or Me Girls’ ’Round the World Diary. Paperback edition by Bantam Books, April 1971, with small type in Alternate Gothic.

The Coffee Tea Or Me Girls: Lay it On The Line, Bantam Books, 1973. The fat years are over: the main typeface now is Caruso Roxy’s light weight. Secondary text is in italic caps from Caledonia.

The Coffee Tea Or Me Girls Get Away From It All, Bantam Books, 1975, with Helvetica used for the text in red.

First English edition of Japanese author Haruki Murakami’s 1980 novel Pinball, 1973, translated by Alfred Birnbaum and published by Kodansha, with cover art by Maki Sasaki. The prominent use of Peignot and Serif Gothic reinforce a 1970s feel.

The blue horizontal area is the obi strip (belly band) as issued with the earliest printings of this book, which was distributed only in Japan, as a pocket-sized paperback with jacket. The Japanese title (“1973年のピンボール”) uses Gona. The other Japanese fonts are unidentified. “Let’s read in English” seems to be oblique Univers, and “Kodansha English Library” is in Italia.

Ragtime

From Paul Dini & Chip Kidd’s Batman Animated (1998):

These imaginatively rendered title cards were a high point of each Batman episode. While some (like “Harley’s Holiday” and “Time out of Joint”) were character portraits, most often the cards depicted an emotional impression of the given episode’s theme. According to Eric Radomski, who designed many of the cards, “Going with the overall retro-forties feel we were giving the show, we wanted to treat the episodes as mini-movies. The title cards allowed us to create great drama in a very subtle fashion. It was a process of trying to capture what the overall episode was, and not just show a scene or moment from it.”

Most of the title cards of Batman: The Animated Series’ first season (which first aired in 1992–1993) use fonts that were available from Letraset.

See also the post on the series’ logos.

Engravers Old English

Pendry Script

Rundfunk

Commercial Script and Compacta Italic

Pendry Script

Cable (Kabel) Light

Univers 49

Brody

Univers 49

Peignot Medium

Alpin Gothic

Plaza

Pendry Script and Compacta

Windsor Bold Outline

Compacta

Plaza

Peignot Medium

Brush Script

Microgramma Medium Extended

Mistral

Compacta Bold Outline

Univers 49

Goudy Handtooled

Mistral

ITC Benguiat

Brody

Univers 49

Plaza and Univers 49

Mistral

Laser

Univers 49

Stencil Bold

Univers 49

Univers 49

Papyrus

Berling Bold

Mistral

Mistral

Ragtime

Berling Bold

LCD Outline

Cloister Bold

Shatter

Helvetica Extra Light and Medium

Goudy Extra Bold

Freestyle Script and Flash

Plaza Inline

City Medium

Murray Hill Bold

Plaza and Univers 49

Ragtime

Tarragon

Compacta Outline

Titus Medium

Augustea Open

Cortez

Peignot in use in its gras (bold) weight, and also featuring the not commonly seen Initials, a complimentary all-caps style with compressed proportions.

W. Somerset Maugham’s Six Stories Written in the First Person Singular was first published in 1931 by Doubleday, Doran & Co. This French edition with the title Amours singulières came out in 1955 as no. 63 in Le Livre de Demain, a series dedicated to translations by Librairie Arthème Favard, Paris. “Série étrangère” is added in italic caps from Futura, known in France as Europe. The jacket illustration is by Roger Adam.

The oldstyle roman used on the book cover is Peignot & Fils’s Garamont.

The Supremes A’ Go-Go is the ninth studio album by The Supremes, released on August 25, 1966, by Motown Records. The album blends original material with covers of contemporary pop and soul songs, featuring hits like “You Can’t Hurry Love” and “Love Is Like an Itching in My Heart”.

On the front cover, the group's name is set in Fiedler Gothic and the album title is displayed in Latin Wide, with an upside-down apostrophe. Song names are set in caps from Futura Condensed Bold.

[More info on Discogs]

On the back cover, the band name is shown in Peignot with a non-standard u, set on an angle. The title is arranged on a bouncing baseline, with two exclamation marks and added motion lines. The extracondensed contrasted sans is yet unidentified. Track list headings feature Radiant. The upright brush script with the wide caps for “The Sound of Young America” is Filmotype Hawk. “The Motown Sound” at the top right is in Stencil while credits at the bottom left use regular-wide Futura and Monotype Grotesque.

CL 500 (1955 pressing)

The Golden Era Series was produced and edited by George Avakian “from original masters which he assembled and preserved in Columbia’s vaults at Bridgeport, Connecticut.” [Discogs]

The two compilation albums shown here, Benny Goodman Combos and Benny Goodman and his Orchestra, were first released in 1951, with largely identical cover designs by young Rudolph de Harak, using Stymie set on a bouncing baseline. The latter album features an angled block of all-caps Peignot for the track listing. Both were (re)issued in various color variants.

GL 500 (1951)

CL 534

CL 534

1977 pressing by Jubilee

Jackie McLean was born on this day in 1931. The debut album by the jazz alto saxophonist from Harlem was also the first release by record label Ad Lib, in 1956, under the title Presenting… Jackie McLean, with a cover by Parboo Singh.

When Jubilee Records reissued it in 1957, they commissioned Sy Leichman with a new cover. The only common feature between the two designs is the cat, here depicted with wings (or is it an owl with cattail?), miscellaneous geometric forms, four pairs of hands playing various instruments, and a blissful smile that echoes the sickle moon.

The typographic lockup is composed from the lightest weight of Peignot (Deberny & Peignot, 1937), with a superscript C.

[More info on Discogs]

Seymour “Sy” Leichman was two years younger than Jackie McLean: he was born in Brooklyn in 1933. In 1954, he graduated from Cooper Union (see his portrait in The Cable, the school’s student annual). Within a few years and together with photographer Charles Varon (an assistant of Richard Avedon), he accounted for about 100 record covers, according to a 1959 article in the Gettysburg Times. Leichman served as art director at KGA Sales Promotion Agency [Art Direction] and in 1961, he was with Ehrlich, Neuwirth & Sobo. [Art Direction] He co-founded Spencer & Leichman, later known as The Leichman Group, and also art directed at Ted Bates.

After this “short stint in the world of commercial art, Leichman visited Spain, to study Goya, and Mexico, to study the art of Orozco and his contemporaries. Leichman began exhibiting his work in New York around 1970. Today his art is included in such major collections as the Butler Institute of American Art. Seymour Leichman also taught as an art educator at the Art Students League of New York. Perhaps his best known works, however, are his children's books which he both authored and illustrated.” [RoGallery] Leichman died April 10th, 2016 in Manhattan. [obituary]

Detail

1971 reissue by Deep Groove, Japan

Cassandre’s Peignot Bold, used exclusively in its lowercase letters with their idiosyncratic mix of capital and lowercase forms. The three lines are set stacked and interlocked, cleverly taking into account the ascending and descending strokes.

The science fiction novel by British actor and writer Michael Elder (1931–2004) was first published in 1970 by Robert Hale. This is the paperback edition by Pinnacle Books from 1971.

[More info on ISFDB]

According to Wikipedia, 101 Strings Orchestra “was the brand for a highly successful easy listening symphonic music organization, with a discography exceeding 150 albums”, selling “more than 50,000,000 records worldwide”. This album with easy listening interpretations of movie themes was released in 1972 by Alshire Records, an US budget label founded by Al Sherman.

The main typeface is Richard D. Juenger’s Jana, used mostly in all caps. “MOVIES” and the name of arranger and conductor Jack Dorsey are added in Optima. The informal script is Filmotype Korea. The 101 Strings logo is either custom calligraphy or based on an unidentified formal script.

[More info on Discogs]

Of Orc-Rags, Phials, & A Far Shore: Voices of Paradise in The Lord of the Rings by Bruce Palmer. T-K Graphics, Kansas City, Missouri, 1976. The title is in Book Jacket by Ursula Suess, used with various alternates, including two forms for n s A C L P R S. The price is added in Eurostile Bold.

These four pamphlets were issued by T-K Graphics between 1974 and 1977. The covers are printed in black on colored paper and feature typefaces that all seem to stem from the catalogs of VGC, ITC and Letraset.

Fanlore has a page about this publisher:

T-K Graphics was a distributor/retailer of pro books, but it is more well-known for publishing fan-created chapbooks and other amateur zines.

It was based in Baltimore, Maryland was founded in the early 1970s, perhaps earlier.

Via jell-o biafra says, a great (but sadly dormant) Tumblr for all things pulp, pop and underground.

The Drama of Ray Bradbury by Ben P. Indick. T-K Graphics, 1977. [More info on ISFDB] The title uses outlined caps from ITC Souvenir, with a timid swash initial. The author’s name is in Peignot, the price info in Book Jacket.

Middle Earth: A World in Conflict by Stephen O. Miller, with illustrations by James Shull. T-K Graphics, 1975. [More info on ISFDB] ITC Ronda is used in lowercase letters from the Bold, with alternates for a e r. The other fonts are Eurostile Light Extended, Grotesque No. 9 Italic, Windsor, and ITC Bolt.

An Arthurian Concordance by Dennis Lerond, with illustrations snagged from Aubrey Beardsley. T-K Graphics, Baltimore, 1974. [More info on ISFDB] Libra is paired with wide caps from Folio. The author’s name is added in Univers Condensed, the price info appears to be in Venus Extended.

License: All Rights Reserved.

If you watched the epic opening ceremony to the 2024 Paris Summer Olympics, you might have seen the typeface featured in this post. Just before hoisting the Olympic flag upside down, you could have spotted the inscriptions on Palais de Chaillot, made from golden letters displaying A.M. Cassandre’s famous typeface Peignot. The Palais was built for the 1937 World Exhibition and Peignot was introduced with much fanfare on that occasion.

Another occasion for much fanfare were the XVI. Olympic Winter Games in 1992 that were hosted by Albertville, a town of just under 20,000 inhabitants in the French alpine region of Savoie. The visual identity for those games combined an Olympic flame in the heraldic colors of Savoie, French stripes bleu-blanc-rouge, the Olympic rings, and the name of Albertville set in a wordmark based on Peignot.

The flame logo was initially invented by Bruno Quentin, member of the Agence technique of the Savoie department. Later Paris-based design agency Desgrippes Beauchant Gobé Cato was commissioned with developing the overall identity. There, the pictorial logo was carefully redrawn under the art direction of Alain Doré, while Pierre Katz was responsible for drawing the Albertville wordmark based on Peignot. In comparison to the original version from 1937, Katz cut off the horizontal strokes diagonally and sliced open the counters of A and B – which makes them behave more like the R. Katz’s drawing of the figure 9 appears more stabilized than the original. The design guide for the Olympic games of Albertville is a treasure trove for everyone interested in the history of graphic design. And we sure all would want these sweaters and jackets today.

In 2023, Production Type from Paris acquired the rights to freshly digitize, extend and distribute all typefaces of the estate of A.M. Cassandre. This includes Peignot that is already available in Production Type’s Beta Program but still awaits release in the general catalog.

Comparison: Production Type. License: All Rights Reserved.

The Albertville 92 wordmark (bottom) as shown in the style guide, compared to the original Peignot demi as shown in a 1937 specimen by Deberny & Peignot. The overall weight was increased a little. Apexes in A and V were made blunt, like in Peignot gras. The counters in A and B were opened up, probably to echo the R. All horizontals were cut off diagonally. The numeral 9 got a more balanced bowl, and the 2 was made narrower.

Source: collectionolympique.org Collection Olympique. License: All Rights Reserved.

Just a small sample from the huge assortment of pins by Collection Olympique – including versions of the logo in monochrome red and with a golden contour

License: All Rights Reserved.

The commemorative coins (engraving: Ponce-Buquoy) depict the logo alongside text in Peignot …

Source: mintedmarket.ca License: All Rights Reserved.

… and Pierre de Coubertin (1863–1937), father of the modern Olympic Games.

Source: www.flickr.com Photo by Jean-François Lipka, via Eric Bannwarth. License: All Rights Reserved.

A Mirage 2000B fighter jet by the Armée de l’Air (French Air Force) with the Albertville 92 logo

License: All Rights Reserved.

It was the 1990s! An Albertville 92 jacket with Coca-Cola ad.

Source: www.ebay.at tippitoerz. License: All Rights Reserved.

Albertville 92 sweater

License: All Rights Reserved.

Embroidered version of the Albertville 92 emblem

Source: www.francetvinfo.fr Gabriel Bouys / AFP. License: All Rights Reserved.

French biathletes Anne Briand, Veronique Claudel and Corinne Niogret won in the women’s 3×7.5 km team relay on 14 February 1992 in Les Saisies and proudly display their gold medals – with text in Peignot. The medals were designed under the direction of Marie-Claude Lalique.

Moore Swash is not a full typeface, but rather a set of auxilliary swash glyphs, to be used to spice up Times Roman Bold. It comprises 37 uppercase and 14 lowercase glyphs. Designed by James H. Moore of Moore Computer fame, it was made available via VGC.

Here it’s used exclusively in caps for the title of a 1971 album by Lawrence Welk (1903–1992). The only non-swashy glyph is the second I. Chances are the typesetter didn’t bother with switching to plain Times and rather modified the swash I (or L) on the spot.

Welk’s name is set in Peignot Bold – also carried by VGC – and the track names in what appears to be Trade Gothic Bold Condensed. The logo of Welk’s record company, Ranwood Records, combines Fantail and Craw Modern, see the dedicated post.

[More info on Discogs]

Glyph set for Moore Swash as shown in The World-Famous Photo Typositor Alphabet Library, VGC, 1973

Poland. Key to Europe, featuring Peignot gras dramatically staged with shadow effect and a sloping baseline

Two books written by Raymond Leslie Buell and published by Alfred A. Knopf, both with Peignot used for the title.

Buell (1896–1946) was an American social scientist who at the time served as president of the Foreign Policy Association. In Poland. Key to Europe, he points out the importance of Poland maintaining its independence and thus saving Europe “from the domination of either Fascism or Communism”. It was published in April 1939 – a few months before Nazi Germany and the Soviet Union signed the Molotov–Ribbentrop Pact and soon after attacked Poland. Isolated America followed in May 1940, when German troops invaded France and the Low Countries. In this book, Buell expressed his stance against U.S. isolationism. One and a half years later, the United States abandoned its neutrality and entered World War II following the Japanese attack on Pearl Harbour.

Peignot was pretty new in 1939. A.M. Cassandre’s groundbreaking design with the novel mix of capital and minuscule forms was first released by Deberny & Peignot in 1937. The bold weight, Peignot gras, followed in 1938. On the jacket for the first book, it’s paired with Egmont and Ariston. “Key to Europe” is handlettering. It appears to mimick Ariston (see the spine panel) – or is it the other way around? The text on the inner flap is set in Monotype Bodoni.

The bold geometric sans on the second book jacket is Vogue, used with some of its alternate glyphs. The author’s name is lettered, again not too far removed from Ariston.

Second edition jacket of Isolated America with a blurb by William Allen White

Artwork for “Being Boiled” (with “Circus of Death” on the B-side). The 7″ single was the debut release by The Human League. It came out in June 1978 on Fast Product.

The typefaces used in this design were typical of the time. Also noteworthy are the graphics, which came from Letraset Illustration sheets.

[More info on Discogs]

This cover design was based upon the cover of the British “glamour” mag Parade from 1963. Since this FURORE issue has a feature about the year 1963 in pop the use of Amigo No. 1 seemed fitting.

FURORE #28 is available from furoremagazine.com.

From Wikipedia:

Unmistakably Lou is an album by American R&B singer Lou Rawls, released in 1977 on the Philadelphia International Records label. It was Rawls’s second PIR album and performed respectably (No. 14 R&B and No. 41 pop), although its sales fell well short of his 1976 PIR debut All Things in Time. Only one single, “See You When I Git There”, was released from the album in the US; alongside “You’ll Never Find Another Love Like Mine” and “Lady Love”, it remains one of Rawls’ best-known PIR songs. Like its predecessor, Unmistakably Lou is a well-regarded album for its mix of high-quality Philadelphia soul songs and other more jazz-influenced tracks (atypical and distinctive for a PIR production). Rawls won the Grammy Award for Best Male R&B Vocal Performance for the album in 1978.

The front cover uses the Light weight of Peignot, in all caps. Text on the back cover is set in another classic serifless roman, or sans with contrast: Optima. Design by Ed Lee, with photography by Frank Laffitte.

[More info on Discogs]

US teaser poster (40″×60″)

In her recent contribution, Hee showed that Barbarella was presented to cinema-goers in the United Kingdom in Edelgotisch. In the United States and also in several European countries, the typeface associated with the 1968 science fiction movie is Peignot.

Various posters feature its Bold weight, with tight letterspacing and often with contoured letterforms. On the US One Sheet poster shown directly below, Cassandre’s 1937 design can be see with alternating glyph colors and a shower of stars. The initial B and the double l were lowered so that they sit flush with the other letters (except for the b), further increasing the whimsical appeal of Peignot. In Ugo Tognazzi’s name, the G had to lose its descender, for a vertically more compact line.

The art on that poster (and the international variants shown further below) is by Robert McGinnis, who turned 98 last week.

US One Sheet (27″×41″). The tagline at the top left uses Helvetica Italic. “See [Barbarella] do her thing!” is added in what looks like Standard Condensed. The names of John Phillip Law and Marcel Marceau are set in Galaxy, and the music credits in the box might be Lightline Gothic..

24 Sheet poster (104″×232″)

US Half Sheet (22″×28″)

Belgian poster (14″×21″)

German A0 poster (33″×46″). Some smaller text is set in Folio. The narrow gothic here is a different one, possibly News Gothic Extra Condensed.