Front panel of the US retail box for Wolfenstein 3D (DOS) (Floppy Disk Version, 1992, distributed by GT Software, v1.4 (04-30462)). Art by Julie Bell. Title set in Cathedral.

From Wikipedia:

Wolfenstein 3D is a first-person shooter video game developed by id Software and published by Apogee Software and FormGen. Originally released on May 5, 1992, for DOS, it was inspired by the 1981 Muse Software video game Castle Wolfenstein, and is the third installment in the Wolfenstein series. In Wolfenstein 3D, the player assumes the role of Allied spy William "B.J." Blazkowicz during World War II as he escapes from the Nazi German prison Castle Wolfenstein and carries out a series of crucial missions against the Nazis.

The game's title is set in Cathedral. Additional text on packaging is set in ITC Machine and Helvetica Condensed. Additional text on label of v1.2 diskette is set in Helvetica and Times. Additional text on label of v1.4 diskette is set in Gill Sans. The text featured on the in-game HUD or status bar appears to have been based on ITC Honda.

Back panel of the US retail box for Wolfenstein 3D (DOS) (Floppy Disk Version, 1992, distributed by GT Software, v1.4 (04-30462)). Title set in Cathedral. Additional text is set in ITC Machine and Helvetica Condensed.

Media for Wolfenstein 3D (DOS) (Floppy Disk Version, 1992, distributed by GT Software, v1.4 (04-30462)). Additional text on label is set in Gill Sans.

Cover of Wolfenstein 3D (DOS) (Original Mail Order, 1992, distributed by Apogee Software, v1.2). Art by Ken Rieger. Title set in Cathedral.

Media for Wolfenstein 3D (DOS) (Original Mail Order, 1992, distributed by Apogee Software, v1.2): Extremely rare "Episodes 1-3" v1.2 mail order diskette. Additional text on label is set in Helvetica and Times.

The text featured on the in-game HUD or status bar appears to have been based on ITC Honda.

Sagaland is a fairytale-themed board game conceived by Michel Matschoss and Alex Randolph, and first published by Ravensburger in 1981. A year later, it received West Germany’s Spiel des Jahres (“Game of the Year”) award and has since sold over three million copies. In 1982, an English version followed, renamed Enchanted Forest.

The logo for both versions is based on Cathedral. This pen-drawn blackletter is an early design by Martin Wait and was released by Letraset in 1978. For the German version, the inline was eliminated. The logo of the English-language version has solid letterfoms altogether.

The Sagaland logo in Cathedral, loosely spaced, and minus its inline

The Sagaland board with game pieces, cards, and the manual

The back of the Sagaland box with info in five languages, set in the bold weight of Stempel Garamond (1927) with drop caps

Box design for Enchanted Forest, with solidified Cathedral in yellow, featuring its alternate swash E. “A treasure hunt for all the family in the land of myths and legends” is added in Times New Roman Bold.

On the side of the box, the name is shown in red Cathedral with contour.

The back of the box is the only place where Cathedral was used in its original form, with inline.

Cover of the zine Artemis, issue 5

Artemis is a zine apparently produced by St. Bride’s, also known as the Silver Sisterhood, sometime after February 1984. Sadly there seems to be only this one issue available on the internet. The cover is black line art on orange card.

The title appears to be lettering based on Art Deco, an all-caps typeface released by Mecanorma for dry transfer lettering. The round “Artemis” seal on the back cover features letterforms that stay close to the original design. The other occurrences build on the theme of thin-and-thick strokes with geometric construction, and add lowercase forms.

The subtitle, For Women who love Women, is set in Futura Medium Italic. The remaining text is a taster for Silverwolf, the regular story feature in the zine: “AT LAST” is set in Times Bold, “Silverwolf” uses American Uncial Initials, and “STRIKES BACK” is in Runnymede/Motto. All these typefaces were available from Letraset at the time, which would have been a popular choice for making zines like this, but there are no notes showing that it was Letraset type, other than the slightly uneven alignment of the subtitle.

The cover illustration is signed “Michele”, i.e. Michele Dennis. According to Aaron A. Reed, this might have been a pseudonym of Priscilla Langridge.

St. Bride’s was also the group publishing a series of computer games under The Games Mistresses branding.

Spread from the interior, with letters to the editors and an interview. Headlines are in University Roman (Letraset, 1976). The monospaced cursive in the speech balloon is IBM Script. There are at least three other (proportionally spaced) typewriter faces which are not yet identified. The body text looks like it was produced on one of the variable typewriters, maybe a Diablo or a Selectric.

Spread with a headline in Cathedral (Letraset, 1978).

Silverwolf is a serial story credited to Laeretta Krenne-Genovene, illustrated by Michele Dennis. According to Aaron A. Reed, “one or both of these people may or may not have been Priscilla Langridge.”

Back cover of Artemis 5, featuring Grotesque No. 9 Italic, which was also available from Letraset.

Sleeve for electro/hip-hop track “Lipstick”, the only release by Beatmaster, a project by Chris Lord-Alge, Keith LeBlanc, and Robbie Kilgore. The 12″ record was issued by Tommy Boy Music, New York, in 1984.

The design is credited to Steven Miglio, with art direction by Monica Lynch. The typography is just as in-your-face as the airbrushed pink mouth by Robert Risko: Two lines that both take up the whole width, with Baby Teeth in loud green. And Cathedral in reversed caps. Like most blackletter styles, the contoured split-stroke design by Martin Wait doesn’t really lend itself to being used in all caps. (Unless the aim is sheer volume, of course.) This is most evident in the descending swash T’s and the spacing issues they cause. Letraset offered a tamer alternate for this character, but either the supply of this glyph had already been depleted, or the designer digged the rhythmization of the word.

[More info on Discogs]

“Holidays” (No. 329) ft. Aesthetic. Having been issued by the Dickinson Type Foundery in 1882, the Victorian face with the ornate caps is the oldest one in the mix. In 1980, it was available from Photo-Lettering, Facsimile Fonts, VGC, and others.

Covers for various clip books of line art issued in 1980 by Harry Volk Jr. Art Studio, Pleasantville, New Jersey.

The booklets from this volume exemplify the dominance of ITC for display typography in the United States in this period. There are nine different typefaces from the library of the International Typeface Corporation, including less common ones such as ITC Uptight Neon (1970) and ITC Quorum (1977).

Letraset (the company that would acquire ITC in 1986) was also influential: There are two originals by the British manufacturer of dry transfer lettering sheets, Compacta (1963) and Cathedral (1978). Many other faces were available from Letraset (as well as from various phototype providers), too, among them revivals like Harrington, Tintoretto, Dynamo, and Peignot, or adaptations of designs that originated in phototype like Tonight, Yagi Double, Checkmate.

Exclusive designs by Photo-Lettering are less frequent than in the late 1960s and 1970s. They are still represented by Benguiat Caslon and Hasler Circus. Filmotype faces – which used to be omnipresent on Volk booklets in the 1950s and 1960s – have largely disappeared, with the exception of Filmotype Quiet (1954), a stencil design that by 1980 had been copied by PLINC, VGC, and others.

All covers feature the logo designed by Herb Lubalin and introduced in 1976, here with the subline in caps from Kabel Black.

See the previous post about the clip books issued in 1955 for more information on Harry Volk Jr. Art Studio.

“Wedding” (No. 328) ft. partly overlapping caps from Harrington. The typeface was first issued by John Haddon & Co. in 1899.

“Graphic Arts” (No. 331) ft. Benguiat Caslon. Because nothing says Graphic Arts like overlapping swash caps.

“Birthday” (No. 332) ft. skewed caps (a contra-rotalic?) from Compacta on candles. Illustration by Tom Sawyer.

“Religion” (No. 334) ft. Cathedral for a cover on a cover.

“Winter” (No. 335) ft. the snow-capped letters of Igloo.

“Show Biz” (No. 336) ft. stacked glyphs from Tonight.

“Occupations” (No. 338) ft. Yagi Double.

“Communications” (No. 340) ft. ITC Benguiat Bold Condensed Italic (1979) and the comeback of the landscape format which would become the standard in subsequent years. The Volk logo is now shown in reverse on a black triangle. “Clip Book of Line Art” is set in ITC Avant Garde Gothic.

“Fitness” (No. 748) with caps from ITC Uptight Neon, set on a curve.

“Marine” (No. 749) ft. Filmotype Quiet. Illustration by Tom Sawyer.

“Summer” (No. 750) ft. ITC Bauhaus Outline with the alternate M, filled with sunbeams.

“Tourism” (No. 751) ft. ITC Bauhaus.

“Couples” (No. 752) ft. tightly spaced caps from Benguiat Caslon, here just with a single swash O and no overlaps. Primary Illustration by Tom Sawyer.

“Executives” (No. 754) ft. Peignot and a border full of handshakes.

“Family” (No. 755) ft. Times New Roman.

“Autumn” (No. 756) ft. ITC Serif Gothic.

“Homemaker” (No. 757) ft. Circus.

“Education” (No. 758) ft. Atrax with middle dot (·), apostrophe (’), and mid-word linebreaks.

“Christmas” (No. 760) ft. Tintoretto, a typeface that was not made to be used in all caps, as the letter I shows: The J-like form works OK in initial form, but sticks out like a sore thumb in the middle of a word.

“Energy” (No. 762) ft. stacked caps from Dynamo.

“Transportation” (No. 763) ft. caps from Wedge Bold by Lettergraphics [edit: it appears to have originated at VGC, see comments], which is Egyptienne Bold Condensed Bold Condensed customized with triangles cut from the letterforms.

“Insurance” (No. 764) ft. Compacta Bold Italic in lowercase, with an omitted i dot.

“Senior Citizens” (No. 765) ft. all-caps ITC Souvenir with initial and terminal swash forms.

“Crowds” (No. 766) ft. ITC Bauhaus.

“Human Relations” (No. 767), again with oblique Compacta in all lowercase and no i dot.

“Money” (No. 769) ft. Molé Foliate. Primary Illustration by Tom Sawyer.

“Circus-Fair” (No. 770) ft. Hasler Circus.

“Spring & Summer Sports” (No. 771) ft. ITC Lubalin Graph and its sans-serif sibling ITC Avant Garde Gothic.

“Drop-Ins” (No. G111) ft. Pabst Extra Bold Condensed. The logo of the Grafika subseries is in ITC Fat Face with ligatures for ra and fi, accompanied by Kabel Light with omitted tittles.

“The Gals” (No. G112) ft. ITC Newtext and a rare photographic cover.

“The Guys” (No. G114) with tightly spaced City caps.

“Contests” (No. G116) ft. ITC Quorum.

“Printed Forms” (No. G117) ft. overlapping caps with swash initials from ITC Bookman Outline. “We’re moving” is in an unidentified (homemade?) variation on the Electric Circus theme, see also Electus.

“Gimmicks” (No. G119) ft. a fairy tale castle à la Neuschwanstein and caps from Checkmate.