From Wikipedia:

A Rush of Blood to the Head is the second studio album by the British rock band Coldplay. It was released on 26 August 2002 by Parlophone in the United Kingdom, and a day later by Capitol in the United States. […]

The album cover for A Rush of Blood to the Head was designed by photographer Sølve Sundsbø. Sundsbø had been hired by fashion magazine Dazed & Confused in the late 1990s to produce a shot with a “technological feel, something all white”, according to himself. As an artist, Sundsbø attempted to do a unique original piece, creating a shot that had never been seen before; He suggested taking shots using a three-dimensional scanning machine—used to measure head sizes for USAF fighter jet helmets—to fulfil his vision.

The album typography uses all-caps Albertus, just like the band’s debut album, Parachutes. Blue Source and Coldplay are credited with the art direction.

[More info on Discogs]

Screen capture from a 1080p Blu-ray

1997’s Dante’s Peak features Pierce Brosnan in full let-me-be-your-stepdad mode, but he’s handling hot stuff much better here than in that Mrs. Doubtfire restaurant. Albertus is used for the opening and ending credits. It’s set tightly everywhere, with the exception of the title, which animates from extremely wide letterspacing to tight spacing, while orange smoke and flames undulate inside the letterforms.

Univers also makes a brief appearance after the cold open, where it’s softened by a black outline and solid drop shadow.

Screen capture from a 1080p Blu-ray

Screen capture from a 1080p Blu-ray

Founded by Meltem Yavas, a Turkish native living in Southern California, Sage & Tassel was established on the principles of impact, tradition, and passion. Sage & Tassel aims to create handcrafted resort wear and handwoven textiles that blend artisanal craftsmanship with contemporary elegance. Sage & Tassel is a celebration of timeless style, sustainability, and the beauty of traditional Turkish weaving techniques.

In this rebrand, we focus on fixing the brand identity and modernizing it. To start with, we found inspiration in the sea daffodil, a plant native to the Mediterranean region and the Black Sea. This delicate sand flower flourishes on sandy shores in beautiful white elegance. After choosing the sea daffodil as the brand emblem, we redrew the Sage & Tassel logo with this delicate feeling and elegance in mind. For the brand’s color choices, we found inspiration in nature again. Earth tones and sea shades complete a unique Mediterranean color palette that complements Sage & Tassel’s white and pure look.

The logotype is custom drawn.

Text in Goudy Oldstyle is paired with headings in Albertus.

Slave King: Rebels Against Empire is a novel about a slave uprising in Sicily, circa 140–132 BCE, seven decades prior to the better known Spartacus rebellion. Younis, born in the area now known as Syria, is brought to Sicily as a slave, became a tutor to wealthy children, then forged a coalition of slaves, farmers and herders that defeated Roman armies and established a more egalitarian polity for a time.

Cover art by Mustafa El Hallaj

The ABC of Fonts series is a trio of compact histories of three typefaces: Albertus, Baskerville, and Comic Sans. The books were written by Simon Garfield, the bestselling author of Just My Type. The series, with book jackets designed by Derek Thornton, was published by W.W. Norton & Company on October 22, 2024.

As part of the social media marketing campaign for The ABC of Fonts, New York City pedestrians were asked trivia on Comic Sans (pt. 1, pt. 2, and pt.3 are viewable online). The yellow “I LOVE COMIC SANS” and “I LOVE FONTS” (written in Comic Sans) signs greeted pedestrians and garnered mixed reactions. Sign designs and campaign by Grace Shum.

Photo by Lauren Chineme. Posted with permission.

The Devonshire Group, comprising the Devonshire family’s charities, businesses, and estates, includes Chatsworth in Derbyshire, Bolton Abbey in North Yorkshire, and Lismore Estate in Ireland. It spans visitor services, retail, accommodation, property development, and sustainable forestry, employing over 1,400 people. Chatsworth, located in the Peak District, is a cultural destination hosting significant events and offering locally-made products. The group sought to refresh its brand to better reflect its cultural contributions and vision.

Pentagram developed Chatsworth’s new brand identity centred around a hand-drawn serpent motif. “The serpent is a family emblem found consistently across its heraldry, and stone-carved serpents are found in abundance at Chatsworth, Bolton Abbey and Lismore. As a heraldic symbol, the serpent stands for stewardship and wisdom, renewal and growth.”

The primary typeface used is Azo Sans, chosen for its clean and legible qualities. The secondary typeface is URW Baskerville, alongside Roboto Condensed as an additional typeface (not shown here).

The Chatsworth wordmark is based on Albertus, with modifications.

Alice Coltrane Turiyasangitananda is the most famous musician you’ve never heard of. She was an extraordinarily gifted composer, arranger, producer, and musician. Classically trained as a pianist since the age of 7, she was a multi-instrumentalist who played the harp, organ, marimba, and synthesizer in addition to the piano.

She had an extensive, almost encyclopedic knowledge of music and theory; in a 1981 radio interview with Marian McPartland, A.C.T. instantly recognizes Chopin's "Prelude No. 20" after hearing only two notes of it, then commences to play it in full from memory. She was a band leader and well-known recording artist central to “The New Thing” (or free jazz) movement at a time when women were rarely included as members of a band, let alone leaders of a band.

Her list of achievements goes on: her recording career, both commercial and independent, was prolific and spanned decades; she founded her own record label under which she both produced and released posthumous recordings of her late husband, John Coltrane; she wrote four books; and later in life, she was the swamini (or spiritual leader) of an ashram.

Reflection on Creation and Space (a Five Year View) is a compilation album released on Impulse! in 1973.

[More info on Discogs]

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

January 1990, ft. an unidentified rounded sans

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

February 1990 ft. Italia Bold

C82 is the website of Nicholas Rougeux, a Chicago-based designer and data artist. One of the many great things one can find on C82 is his collection of train tickets sold by Metra. Every month, the commuter rail system in the Chicago metropolitan area releases a new ticket design. In 2004, Nick started collecting. Over the years, and with the help from other ephemera enthusiasts as well as of Metra, the archive considerably grew in size. At the time of writing, it includes an impressive 1,395 tickets, spanning more than fifty years of commuter history.

This post highlights the monthly tickets from 1990 and 1991. In a recent blog update, Nick comments:

In the early 90s, ticket designs varied significantly with new typography and visual styles appearing each month. I can’t say these are some of my favorites but I recognize that this may have been in an effort to curb counterfeiting. However, I do enjoy some of the typography from the 1990s tickets. I owe a big thanks to fellow collector John for these and others.

Each of the tickets features a different typeface. Many of the chosen fonts stem from the libraries of ITC (Korinna, Quorum, Serif Gothic, Zapf Chancery, …) and Letraset (Caxton, Italia, Romic (Letraset), …). There are also classics that go back to the era of foundry type, like Beton, City, or Optima, and Monotype originals like Albertus and Plantin. The typographic smorgasbord is completed by designs as diverse as Moderne Schwabacher, a turn-of-the-century blackletter; Salut, an upright script first cast by Gebr. Klingspor in the 1930s; and Checkmate, a futuristic sans with chamfered corners, dreamt up at Schaedler in the 1970s – all of which were either used still as phototype, or in the form of early digitizations.

For the year 1990, all abbreviated month names are shown in vertically stretched letterforms. The source of the stacked numerals (“90”) was identified by Quinn as City Bold, see comments. The bitmap caps (“D/A”) are likely custom. While the spelled-out month names and the ticket numbers are similar to OCR-B, the specific font appears to be a proprietary design with some differences, probably from a specialized printing machine.

The Metra logo seen on the depicted train as well as on some of the tickets is Crillee. See also the dedicated post about it.

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

March 1990 ft. Macbeth

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

April 1990 ft. City Bold

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

May 1990 ft. Checkmate

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

June 1990 ft. Roberta

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

July 1990 ft. what appears to be a version of Filmotype Amber (or a similar face)

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

August 1990 ft. Salut

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

September 1990 ft. Moderne Schwabacher a.k.a. Chalet Text

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

October 1990 ft. Clarendon Condensed

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

November 1990 ft. Beton Bold Condensed

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

January 1991 ft. ITC Quorum Bold

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

February 1991 ft. ITC Kabel Ultra

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

March 1991 ft. ITC Serif Gothic Heavy with the pointed forms for M and A that were omitted from the digital version. “March 1991” uses ITC Korinna and Times New Roman.

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

April 1991 ft. a bold variant of Plantin

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

May 1991 ft. a bold variant of Albertus

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

June 1991 ft. Caxton Bold

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

July 1991 ft. Optima Bold

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

August ft. ITC Cheltenham Bold

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

September 1991 ft. ITC Zapf Chancery Bold with the alternate swash caps

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

October 1991 ft. a bold variant of Century Oldstyle

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

November 1991 ft. Romic (Letraset) Bold

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

December 1991 ft. ITC Berkeley Oldstyle

The New Antiquarians is a publication by Phaidon, which

features twenty-two young connoisseurs whose spirited interiors exemplify unorthodox approaches to living with history. (...) The book is an exuberant entry point into the world of antiques, highlighting one-of-a-kind collections and the single-minded collectors whose stories suggest compelling new ways of living with the past.

I worked with the writer, art historian and curator Michael Diaz-Griffith, and the team at Monacelli and Phaidon to craft the full visual world for the book, with special attention paid towards creating an object that felt appropriately historic – without leaning too far into pastiche. The book design had to be thematically consistent enough to link together such a disparate set of interior styles, while still leaving room for each subject’s unique perspective to hold appropriate space.

The result was an eclectic typographic and compositional system that spoke to 19th-century book design, balanced out by an approach to color and illustration that varied from chapter to chapter; each collector in the book was paired with a carefully curated archival spot illustration, border, and palette that reflected their particular visual idiosyncrasies and interests.

The book uses an eclectic mix of type that nods to myriad eras and art movements. Body text is set in Henry, 205TF's take on Garamond, which brings a delicate formality to long blocks of copy (especially when italic), while the chapter headlines, title page, and jacket spine use Albertus in all caps – a nod to the classicism of Roman square capitals. Chapter numbers are set in the Art Deco-inspired Top Tune JNL from Jeff Levine, contributor names in Canada Type’s swashy Monte Cristo, and captions and subheads in the utilitarian Styrene A (Commercial Type).

The book jacket and case further riff on the border motif established for chapter headings, with the former utilizing a reworked public domain illustration from the 19th century to create a cover scene that evokes a stage or a window – supported by a title set in Daylight Fonts’ Ivy DF, with custom ligatures – while the latter takes the frame concept to its logical, slightly absurdist, extreme for the interior embossed hardcover.

Hardcover, 292×241 mm (11.5×9.5 in), 272 pages
Book photography by Brian W. Ferry

Happy Eater was a regional chain of roadside restaurants in England and Wales aimed at families. It was prominent during the 1970s and 1980s as a competitor to Little Chef and became defunct in 1997.

It is now rather hard to find examples of the wordmark in use. These examples are the best ones I’ve found on Motorway Services Online; there a few more if you like looking at bad scans and vintage 1980 car parks.

The words “Happy Eater” are drawn red on yellow in Charleston which accompanies a (happy looking?) stylised mouth agape. Although the restaurant chain predates the 1980 release of the videogame Pac-Man, surely the logo was inspired by Pac-Man and must come after it (logopedia disagrees, but places this version of the logo between 1985 and 1993) [see comments].

Promo sticker with “I’m a” added in a different font

Promo badges. Left-hand badge has dodgy apostrophe placement; right-hand badge has “I’m a” in a different font, possibly Albertus.

Apex Corner, London, 1980s

Napkin

Sign near Birmingham

Taken in June 1981 in Purley: “Three things all in the past: AN 259, the Happy Eater chain, and the occasional extension of the 405 route to Handcross numbered 455.”

Taken in 1981 at the then new Friary Bus Station in Guildford

All digital versions of the cover are printed and re-scanned.

Canadian indie rockers Half Moon Run are back with a new single “You Can Let Go”.

The cover art was designed by me, Alex Tomlinson, using a long exposure light painting photograph I took from 2011. The Apple Music motion cover uses collaged elements from the original photo.

The lyrics video features a 360 degree rotating camera and a weary office worker overlayed with a relentless stream of Microgramma lyrics.

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

Possibly one of the strangest aspects of David Lynch’s 1984 Dune was the promotional memorabilia associated with it. The production studio behind the film seemed unsure whether to target Dune as a darker film for an older audience, or as their own attempt at a family focused Star Wars saga. Enter the Dune Coloring & Activity Books, written by Arlene Block and illustrated by Michael Nicastre.

The cover of the coloring book features 1984 Dune’s Albertus logo with a modified U. The subtitle is in all-caps ITC Isbell.

Juxtaposing lines of Melior typical to children’s coloring books with strange illustrations of scenes from Lynch's films, the coloring book breaches the absurd.

Even more absurd is the activity book pages, featuring type with psychedelic appearing illustrations and blue text. One section features a Dune themed recipe.

See more images from the books on the Coilhouse blog. A digitized copy of the Coloring Book is available at the Internet Archive.

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

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

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

Source: coilhouse.net License: All Rights Reserved.

Source: coilhouse.net License: All Rights Reserved.

The bestselling science fiction novel – now a movie beyond your imagination

Movie tie-in edition of Frank Herbert’s Dune, published by Berkley Books in May 1984. The typography with widely tracked caps from Albertus follows the visual identity of the 1984 film adaptation by David Lynch. As Toshi points out, some details were customized. Most notably, the U lost its stem. Furthermore, and unlike in the three-dimensional version see in the titles, the E in the logo was made wider, and its middle bar flares to both sides. You can see the original Albertus E in the author’s name below.

The art re-uses a poster for the 1984 film and is credited to Dino de Laurentis Corporation.

[More info on ISFDB]

Special ABA Limited Edition

Title page of a signed copy

Albertus finds itself in another sci-fi cult classic. The opening credit is done in golden 3D lettering, with some modification to the letterform: U has no bottom-right stem, R tail is longer than usual, ampersand uses the alternate form, and J is a non-descending alternate which was originally a standard variant when the typeface was released. According to the ending credits, Robert Schaefer and the company called Title House are responsible for the work.

After the opening exposition and credit, the second exposition starts (this film has a lot of background exposition, which is still not enough to fully make sense of itself, and often the main point of its criticism). The planet names are typeset in ITC Avant Garde Gothic.

Small caps are simply scaled caps with no weight adjustment.

The ending credit is set in Helvetica.

The novel’s title and author’s name are based on Granjon, with additional front panel text set in what appears to be Courier 10 Pitch.

Dust jacket by an unknown designer for the 1998 Picador first English hardcover edition of American Psycho by Bret Easton Ellis. Jacket illustration by Marshall Arisman. Author photo by Jill Krementz. The true first edition was published in the United States in 1991 as a Vintage trade paperback original, after the Simon & Schuster edition was canceled.

The novel’s title and author’s name are based on Granjon, deconstructed into some kind of abstraction by altering or removing points along the contours of the glyphs. The remaining front panel text, as well as the text featured on the front and back flaps, is set in what appears to be Courier 10 Pitch. The interior title page features additional text set in New Caledonia. Publisher’s mark on spine of jacket and hardcover is set in Albertus.

An example of how the letterforms of Granjon were modified to create the titling featured on the first English hardcover edition of the novel.

View of back panel, spine and front panel of jacket.

The front and back flaps feature text set in what appears to be Courier 10 Pitch.

Hardcover is bound in publisher’s original black cloth-affect boards with silver lettering on spine which is based on Granjon and a publisher’s mark at the base which is set in Albertus.

The interior title page features additional text set in New Caledonia.

Beastars is a Japanese manga series written and illustrated by mangaka Paru Itagaki, which ran from 2016 to 2020, and received a three-season anime adaptation by animation studio Orange in 2019, licensed by Netflix.

The anime adaptation of Beastars has its own logo and branding separate from the manga; the logo uses a modified version of Burford Rustic Book Black, specifically using the font's alternate glyph set.

Burford Rustic is a vintage-styled decorative typeface designed by Kimmy Kirkwood of Kimmy Design in 2015. It is a rougher and more textured version of Burford by the same designer.

Burford Rustic is also used for various Beastars merchandise, like the Beastars Original Sound Tracks album cover and its track listing’s numerals, and the covers of the Japanese Blu-ray Disc releases.

New logo for the third and final season of the anime.

Cover art of the Beastars Original Sound Tracks album

Back cover of the soundtrack album with the track listing. Titles are set in Avenir.

Cover of the Beastars Vol. 1 Limited Edition Blu-ray.

Sample from the Beastars soundtrack vinyl’s art book. Burford Rustic is paired with Albertus.

Front cover of Channel 1, released June 2000

Channel is a series of leftfield, electro and electroclash music compilation mixes released between 2000 to 2005. The channels range from one to four and feature a roster of British and international artists in a tracklist of 10 to 15 tracks, including Yello, LCD Soundsystem, Lopazz, and others.

Trevor Jackson, the founder of the now-defunct “highly acclaimed” Output Recordings (1996–2006), was known for designing the covers himself in the independent label’s art director role.

The first in this installment (released in June 2000) features a hot pink background (except fluorescent orange in the 2005 copies, not pictured) and text set in Berthold’s Akzidenz-Grotesk Bold, which was also used for the CD-R version (not pictured) released with Source UK, a tradename of the French label Source, but in a background of silver filled on the cover and the text being aligned on the centre above.

However, from Channel 2 to Channel 4, the band names on the front and track names on the back are a circus maelstrom of fonts with various backgrounds, including monochrome in two variants (one being white and black, the second being black on white) and metallic gold (pictured) and metallic silver (not pictured).

These fonts include classics from the metal type era as well as the 1970s/80s dry-transfer and phototypesetting years (including designs by ITC, Letraset, Mecanorma, VGC, Fotostar/Fascimile Fonts, and Photo-Lettering) in the styles of Art Deco, Victorian, Art Nouveau, geometric, etc. Note especially the early use of Tank by Canadian type designer Ray Larabie (in the 2004 compilation cover which by the way was possibly inspired by ITC Machine from 1970) and Boback from Nathan Williams’ Baseline Fonts foundry (not released until 2006) [edit: it’s probably the earlier Serifedsans].

Back cover, in left-aligned text and two columns

Channel Two, released April 2003: Centaur (Bruce Rogers, Monotype, 1928), Cooper Black (Oswald Bruce Cooper, Barnhart Brothers and Spindler, 1922), ITC Symbol (Aldo Novarese, 1984), Abbot Old Style (Joseph W. Phinney, ATF, 1901), Albertus (Berthold Wolpe, Monotype, 1936), Cottonwood (Barbara Lind et al., Adobe, 1989), Old English (Monotype, an adaptation of ATF Cloister Black, 1904), Memphis Bold (Rudolf Wolf, 1931), Studio (Dick Dooijes and Dolf Overbeek, Amsterdam Type Foundry, 1946), Too Much Shadow (Bill Seifert, VGC, 1974), Karnak Bold Condensed (Robert Hunter Middleton, Ludlow, 1931), Boback (Baseline Fonts, released ca. 2006, documented early use of an Alternate Gothic with serifs on the bottom) [edit: it’s probably the earlier Serifedsans], Helvetica Condensed (outlined, Stempel/Linotype), ITC Avant Garde Gothic (Herb Lubalin and Tom Carnase, 1970) and Hamilton (Font Bureau, 1993).

Back cover

Channel 3, released in June 2004 (pictured behind is the pink cover): Agraphicus (VGC before 1982, digitized by WSI in 1996 as Arruba), Tank (Ray Larabie of Typodermic, 2004 – the year this album was released in), ITC Busorama (Herb Lubalin and Tom Carnase, the creators of Avant Garde Gothic, 1970), Buxom (Bob Trogman of Fotostar/Fascimile, 1975), ITC Pioneer (Ronné Bonder, 1970), ITC Serif Gothic (Herb Lubalin and Tony Di Spigna, 1972), a condensed sans (probably a bolder style of FF Meta or similar), Shatter (Vic Carless, Letraset, 1973), Futura Black (Paul Renner, Bauer, 1929), Clarendon (Hermann Eidenbenz, Haas, 1953), Umbra (Robert H. Middleton, Ludlow, 1932), ITC American Typewriter Light (Tony Stan and Joel Kaden, 1974), and Raphael (Central Type Foundry, 1885)

Back cover with copyright and remix text in Helvetica (Max Miedinger, Haas, 1957)

Example spread of booklet that comes with the tracklist

Channel 4, released in September 2005: Fiorello (Photo-Lettering Inc., before 1965), Futura Light (Paul Renner, Bauer, 1927), Blackline (Wolf Magin, Berthold, 1973), Shotgun (J. Looney, VGC, 1972), ITC Busorama (see Channel 3 for info, here used with the asymmetrical A), ITC Zapf International (Hermann Zapf, 1977), Isabella (Herman Ihlenburg; MacKellar, Smiths and Jordan; 1892), Novel Gothic (shaded variant as seen in Solotype’s 3-D and Shaded Alphabets; Charles H. Becker and Morris F. Benton, ATF, 1928), Crypt, Sauce (unknown), University Roman (Letraset, 1972), Cooper Black (outlined variant) and ITC Serif Gothic Bold.

Back cover

Spine

Marble peach vinyl edition

The Archer is Alexandra Savior’s second album, released in January 2020 on Danger Mouse’s 30th Century Records. Dana Trippe is credited for the photography. I don’t know who did the typography, but the choice of Roslindale is spot on. The heavy blur (or glow) effect dials up its nostalgic side, and makes it an excellent match for Savior’s dreampop. Watch the videos for the title track and “Saving Grace” on YouTube. Roslindale is supported by Albertus for the song titles on the back cover. The same combination was used for a tour poster.

[More info on Discogs]

Back cover

Tour poster, February 2020

Cover for “Ohio”, the first single of Finnish rap artist Wil from Helsinki. The song title and credits on the bottom of the artwork were set in Albertus, a font suitable for the sort of theme and mood of this cover art and music video. Especially the mix of this horror and mature classic typeface perfectly fulfills the twisted love story in the video that was inspired by John Carpenter’s way of using it for the credits in his films.

Since May, a few of Jacques Demy’s movies are available on Netflix. Besides the well-known Les parapluies de Cherbourg, Les demoiselles de Rochefort, and Peau d’Âne, there is a selection of lesser-known ones. Amongst them you can find Demy’s The Pied Piper from 1972, a lovely and dreamy adaptation written in collaboration with Andrew Birkin and Mark Peploe of the legendary tale of the Pied Piper of Hamelin, telling the story of a mysterious rat-catcher who happened to live during the Black Death era. The mythic character also included in works by Goethe, the brothers Grimm, and Robert Browning is here played by Donovan (facing a young John Hurt as an antagonist), who also composed and sang the songs of the Piper in the movie.

The choice of Berthold Wolpe’s Albertus as a single typeface for the credits suits very well the imaginary mediaeval northern Germany where the story takes place. To my surprise, the opening credits appear to use the same version of the typeface showing the famous uncial e and the dotless i that we know from The Prisoner TV series. In the end credits, Albertus is set in a smaller size with its original letterforms.

It’s not clear who designed the titles. George Djurkovic is credited with the art direction, and Assheton Gorton was the production designer.