Fonts from the Flea Market #1355

This sleeve for the German release of a single by British blues rock band Juicy Lucy uses all-caps Inland for the typography. Compared to the 1895 original, the C is different: instead of a serif at the top and a foxtail at the bottom (as in S), it has two bulbuous terminals. Since the two C’s are not quite identical, this deviation is probably a modification made by the (uncredited) sleeve designer.

[More info on Discogs]

Inland (1895) in contemporary use for Inpatient Press’s edition of the Averoigne stories by Clark Ashton Smith (1893–1961) from 2019. With its undulating letterforms, Inland nicely echoes the hair reflected from the water surface in Clark Filio’s cover art. The particular font in use is Bizarrerie Bold (2010), a digital revival by Claude Pelletier. It’s paired with Lucas Le Bihan’s Sporting Grotesque (2016), a design informed by grotesques from the 1880s. Both typefaces are used with electronically condensed letterforms.

From Inpatient Press:

Finally collected in a signature single standalone edition, Clark Ashton Smith’s Averoigne is a testament of temptation and transcendence: corrupt sellswords, vengeful sorceresses, and time-warping dissident priests all play a part in these tales set in the louche groves of Smith's decadent imagination.

Printed in the style of the erstwhile Ballantine Books Adult Fantasy Series, Averoigne concludes the iconic five-book cycle begun by editor Lin Carter in 1970 and left unfinished until now.

This ad for an automatic sheet feeder, manufactured by T.W. & G.B. Sheridan, appears in the October 1896 issue of The Inland Printer. Maybe I’m reading too much into their type choice, but Inland, with its wavy counters, is just so on the nose for a machine that loads paper into a printer. The typeface was fresh on the market, having been patented just the year before. The drop caps are set in Florentine beside text in Jenson Old Style or something very similar.

Image by Brock New

Terpene Dream IPA/APA (@ 5.5% ABV) was launched by craft brewery Hops & Josh in Austin, Texas in early 2018. The label design is by DeRouen & Co. For the title, they used modified letterforms from Inland, with nested glyphs and custom swash extensions.

Inland was patented in 1895 by Carl Schraubstadter, Jr. from St. Louis, Missouri:

The leading features of my design consist in having light hair-lines and exceedingly heavy main lines, and in place of the ceriphs, which ordinarily extend in a horizontal direction at the top and bottom corners of the heavy vertical lines, I use a small wedge-shaped hair-line at the junction of the horizontal and vertical boundariesof these main lines […] Such parts of the letters as are ordinarily crescent-shaped, being convex on the outside of the letter and concave on the inside, have the outer contour of the usual shape, while the inner contour is a compound curve, giving the surface a tear-shaped appearance.

The Hops & Grain Brewing logo uses Hoefler & Co's Tungsten and Forza.