Cats in Pants by illustrator Naomi Tipping uses Cafeteria by Frere-Jones Type. From publisher Batsford:

Cats in Pants is a hilarious swing through the underwear preferences of several cats with lots of personality. Uniquely hand-illustrated in a charming and textured style by Naomi Tipping, this book is guaranteed to be a hit with children and adults alike.

Each page is equally divided into three parts so that the head, body and (clothed) tail-end of the cat can be swapped around with the respective parts from other pages to create a huge number of cats.

Original 2006 cover

From the Lemon Demon Wiki:

Dinosaurchestra is Lemon Demon’s fifth album, released on July 20, 2006. It was remastered by Angel Hair Audio LLC and then re-released by Needlejuice Records and Acrobat Unstable Records on January 1, 2022. It is the first to include a text commentary, a secret track, and a booklet. It is also the longest Lemon Demon album to date, with over two hours of music (including bonus tracks).

The front cover displays a diorama on what appears to be the inside of a door, comprised of household objects (a toothbrush, a deck of cards, a rose, a key, etc), a CD-R labeled “MUSIC?” and a piece of paper with a blue dinosaur character with heart pupil eyes (semi-officially named “Goodsie”) printed on it, while a piece of paper displays the band name in a light condensed and warped version of Novel Gothic, with the album title displayed in a similarly warped Times New Roman.

It is unknown what digitization of Novel Gothic was used for the “Lemon Demon” text. Perhaps Neil could have used one of the many poor digitizations back then of it? (Castcraft’s version comes to mind, it does have a bold weight which is very similar.)

[More info on Discogs]

Remastered 2022 album cover

Back insert on original 2006 release. The tracklisting is set in ITC Souvenir Light, while the “Dinosaurchestra” text on the bottom of the tracklist uses Harlow Solid. The text on the right spine also uses this font (albeit with the uppercase L and D replaced by a unknown font.)

Restored 2022 back insert. The copyright info in the lower left corner is set in Gill Sans.

Back panel of 2006 booklet and on 2022 re-release. All of the text is in custom handwriting.

The Wiggles are a group of children’s entertainers from Sydney. The cover of their 24th album, released in 2006 on ABC Music, has the title set in Holiday, while the text on the “15th Birthday” logo is in Gill Sans Heavy. The Wiggles logo is based on Corinthian.

[More info on Discogs]

Supraphon was one of Czechoslovakia’s state-owned record labels. The main logo – designed by Václav Zajíček and chosen in a competition in 1949 – features the Bohemian lion from the Czechoslovak coat of arms holding a lyra, underneath the name in bold serif letters arranged in an arc. It was recently redesigned by Jakub Kaše from Boomerang Communication in collaboration with Tomáš Brousil.

This is not about Zajíček’s logo, though. For the labels of their 45 RPM single records – or krátký záznam in Czech – Supraphon used an alternative logo, featuring constructivist slab serif caps with an inline. While Zajíček’s wordmark is hand-lettered, this uncredited variant is based on a typeface: it’s Faro, designed by Henry R. Möller and first cast by the Schriftguss foundry in Dresden in 1938.

“Krátký záznam” (“short record”) is added in caps from Gill Sans. The credits on many of the labels are set in Super-Grotesk. Like Faro, Arno Drescher’s Futura follower originated at Schriftguss in the 1930s.

If the dates on Discogs can be trusted, the labels featuring Faro were introduced in 1954 and phased out again around the late 1970s. They were used for all styles of music, from Beethoven to Chuck Berry to local star singer Karel Gott.

Pony Scouts is a series of ten books written by Catherine Hapka and illustrated by Anne Kennedy. It was published between 2009 and 2014 by HarperCollins in the Level 2 tier of the I Can Read! library.

Titles are set in Nick Shinn’s FF Fontesque Sans, with shadow effect, while the Pony Scouts logo uses Leticea Bumstead by Phoenix Woodrow. The “I Can Read!” series title is in Horley Old Style, integrated into a curved ribbon, with Gill Sans used for “reading with help”.

Five Leaves Left is the first studio album by English musician Nick Drake. It was recorded at Sound Techniques Studio in London and released in 1969 by Island Records.

The picture was taken by Keith Morris. There are no credits for the graphic design or layout [edit: it’s by Diogenic Attempts, see comments].

Filmotype Zither is used for the artist's name, accompanied by Gill Sans in all caps (and with questionable kerning) for the album’s title.

[More info on Discogs]

This recording of Gustav Holst’s The Planets as performed by the London Symphony Orchestra under Malcolm Sargent (1895–1967) was released by Decca in 1954. The cover shows the seven featured planets as the heads of their eponymous Roman deities, orbiting a flaming yellow sun.

The main typefaces are Monotype’s Bodoni Ultra Bold Italic and Profil by Haas for “PLANETS”. The contoured and shaded all-caps slab doesn’t appear in direct use, but was redrawn: some details are slightly off when compared to the foundry original, see the bowl of P that’s angled at the bottom, or the A that has a smaller counter.

[More info on Discogs]

Alternate version. The sans serif used for the conductor’s name in the black circle (representing Earth?) and the other small print is the Bold weight of Tempo.

On the back cover of the Society of Industrial Artists (SIA) Journal, no. 47 from October 1955, the Council of Industrial Design advertised the Design Centre for British Industries, to be opened at 28 Haymarket SW1 in the spring of 1956. From the University of Brighton Design Archives (via Jisc):

On 26 April 1956 Prince Philip opened the “Design Centre for British Industries” in London. This represented the end of a long fought campaign by the Council of Industrial Design, which desired a shop window to promote its own activities in support of British industry, and marked a triumph for all those who had advocated the need for a permanent display of British manufactured products in the nation’s capital. The building in Haymarket became the Council’s new home and was managed between 1956 and 1966 by Major General J M (Jack) Benoy, who joined the body in 1949. A vibrant programme of exhibitions took place in the display space downstairs, while in the offices above plans were made for exhibitions around the country and overseas.

The pink manicules are from Chap-Book Directors, which is part of a series of decorative dingbats and woodcut-style illustrations designed by Will H. Bradley for ATF’s The American Chap-Book periodicals, promoted for use with his Bewick Roman.

This specific manicule with the big frilly cuff is arguably the most prominent glyph from this series. Nick – founder of and top contributor to the Flickr Manicule group – pointed out that it has been adopted and used in various contexts, see the comments to a previous Use.

The cover photo of the Golden Gate Bridge is by Joe Norton.

A classic Columbia Records LP cover for Tony Bennett’s 1962 album I Left My Heart in San Francisco, featuring Normande Italic.

The design uses the high-contrast fat face for all text on the front cover, from the city name to the song titles, echoing 19th‑century display types.

The images show different pressings and crops of the sleeve, all retaining the same typographic hierarchy.

[More info on Discogs]

Title and artist’s name are shown in three lines of alternating colors. The colors are echoed in the slashes that separate the song names. Note also the sign painters’ quotes.

The back cover of this US pressing pairs Univers Italic for the bigger lines with Akzidenz-Grotesk a.k.a. Standard for the liner notes and track listing.

The back cover of the British release uses Gill Sans Italic and Monotype Grotesque. It was printed and made by the E.J. Day Group, London.

Stack in use for a single by British blues rock band Medicine Head, released in Polydor France’s Spécial Club series. Designed by Les Lawrence in 1969, the dimensional multiline face was issued for dry transfer lettering by Mecanorma in 1972, the year the record was released.

[More info on Discogs]

The 1976 release of The Modern Lovers, compiled from recordings made earlier in the decade, for an aborted LP for Warner Bros and other sources. The sleeve is a triumph of minimal design, adapting an aerodynamic heart logo that the band used on an early business card, rendering it in the stark, precise form of a neon sign glimpsed on a dark night.

Filmotype Lucky is effortlessly evokes this mid-century aesthetic. Ebony was enjoying a renaissance at the time (see also Blondie’s 1976 debut) – the emerging punk movement favouring clean, strong letterforms over the ornamentation of psychedelia and after. Further examples include Franklin Gothic on Ramones and Gill Sans Extra Bold on the “Neat Neat Neat” single sleeve, both likewise from 1976. (Jamie Reid’s “ransom note” style which would become a cliche of punk design developed independently).

The neon motif is continued in the use of Kaufmann, with its continuous line representing neon tubing, for the LP credits, supported by Gill Sans. The band logo that appears on the labels as well as on the flyer reproduced on the back in in all-lowercase City Bold.

Jim Blodgett is credited with “LP co-ordination”, which may or may not include the sleeve design.

[More info on Discogs]

Back cover. The reproduced flyer for a gig at Gloucester High Auditorium additionally features Futura Black.

Frank album cover

Amy Winehouse’s debut album Frank was released in October 2003 on Island Records. The cover was designed by Michael Nash Associates, with photography by Charles Moriarty. The singer’s name and the title of the album and most of the singles released from it are set in all caps Litera.

[More info on Discogs]

The cover for the album’s first single, “Stronger than Me” from October 2003, forms an exception: here the text is set in Gill Sans.

“Take the Box” single cover, January 2004

“In My Bed” / “You Sent Me Flying” single cover, April 2004

“Pumps” / “Help Yourself” single cover, August 2004

Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

To commemorate the centenary of the birth of Scottish author Muriel Spark (1918-2006), Polygon, a Scottish imprint, is issuing a uniform edition of all 22 of her novels.

Designer Teresa Monachino chose to design the covers typographically, using two typefaces by Eric Gill, Gill Kayo and Perpetua. As she states,

The one thing that I kept in the front of my mind was that Muriel Spark was ‘the writer’s writer’. I read the 22 blurbs that accompanied each story and I knew then that the work should speak for itself. If we mustn’t judge a book by its cover then we must judge it by its words. What happens then when the words are the cover? I proposed that the book blurb should be on the jacket cover so that the design lets the stories speak for themselves; they need no further embellishment, it’s all in the writing.

To encourage readers to collect the entire set of works by ‘the writer's writer’, the designer included a kind of typewriter keyboard grid on the covers, with each book’s number in the sequence of titles highlighted, set in Gill Sans.

The sequence numbers are repeated at the bottom of each jacket spine, as well as a single, similarly highlighted single letter at the top. When all the books are assembled in order on a shelf, the highlighted letters spell out ‘THE NOVELS OF MURIEL SPARK’ — a clever ‘Easter egg’!

The texts are set in Monotype Ehrhardt.

Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: booksfromscotland.com Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Perfect Blue (パーフェクトブルー) is a 1997 Japanese animated psychological thriller directed by Satoshi Kon. The movie poster shown above features the title in shaded and reversed Plaza. The tagline “excuse me … who are you?” is in OCR-A. Other fonts used on it include Tube, Times New Roman, and Gill Sans. The Blu-ray/DVD cover shown below uses Trajan.

Steelbook Blu-ray/DVD, Limited Edition

Fonts from the Flea Market 1421

This single by the Dutch group around singer George Baker a.k.a. Hans Bouwens was released in 1970, from their second album, Love in the World. A follow-up to their 1969 hit “Little Green Bag”, it made the Top Ten in the Netherlands and Belgium.

[More info on Discogs]

Goblin is an Italian progressive rock band most famous for their film scores and especially the collaborations with director Dario Argento. Shown here is the cover of the soundtrack to Non ho sonno. The giallo film from 2001 is known in English as Sleepless.

[More info on Discogs]

13 Months of Sunshine is the third studio album by American rapper Aminé.

Designer Bijan Berahimi of FISK makes expert use of my typeface Megascope throughout the release, including the album cover, back cover, interior, and associated merch. Berahimi generously sprinkled in Megascope’s alternates to give titles extra flair, and made other customizations to give the x-height extra bounce. I love to see Megascope used this way! Avant Garde, an admittedly more text-friendly geometric sans, is used for liner notes and other body text.

[More info on Discogs]

Photography: Lucas Creighton⁣⁣
Hair: Aliky Williams⁣⁣
Makeup: Alexa Hernandez⁣⁣
Styling: Tinbete Daniel⁣⁣
Creative consultant: Liam MacRae⁣⁣
Design direction: Bijan Berahimi (FISK)⁣
Illustration: Nick Collini ⁣
Management: Mischief Management (Justin & Ryan)
Vinyl photos: Mario Gallucci

Back cover

Album and merch

Front cover

Interior spread

13MOS

Liner notes

Liner notes (detail)

Album and merch

Credits and illustration

Detail of tricolor disc, Side A

Detail of tricolor disc, Side B

Detail of tricolor disc, Side C

Detail of tricolor disc, Side D

Aminé wearing the Unc Ringer.

Aminé sharing the White tee.

Tour poster. The supporting typeface is Gill Sans.

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

[More info on Discogs]

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

Apart from the lyra logo in the top left corner, Zdeněk Hašler’s cover design for the 17th edition of Bratislavská lýra in 1982 is exclusively typographic. The main typeface is Othmar Motter’s lowercase-only Alustyle, set on an angle, with custom diacritics. Each of the three singles with songs from the Czechoslovak festival of popular music has stripes printed in a different color.

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

[More info on Discogs]

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

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

[More info on Discogs]

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

Gadget and its striped sibling, Gadget Lined, used together on the cover of a 1973 album by British night club pianist Nick Nicholas. The year before, Gadget was used for a very different album – Black Sabbath’s Vol 4.

[More info on Discogs]

A humanist sans accompanies three circles arranged to suggest street lights. But look closely: They’re not perfect circles. Made by hand, they are as irregular and human as Gill Sans.

This Dutch edition of Feux rouges (English: Red Lights) was published in the Zwarte Beertjes series in 1964.