The Working Brain is an introduction to neuropsychology, written by Soviet psychologist A.R. Luria as a concise adjunct volume to his magnum opus, Higher Cortical Functions in Man from 1962. It was translated to the English by Basil Haigh for Penguin Books in 1973. Shown here is the cover of the US paperback edition by Basic Books.

The uncredited cover designer built a wall of type by repeating the title over and over. The chosen typeface is Bob Newman’s Turtle (Letraset, 1971), prominently featuring its unique nested W. Turtle apparently was chosen because its letterforms are reminiscent of convolutions of the brain.

Nick Curtis made a digitization as Turtellini NF (2011). Last year, Raphaël de La Morinerie and Ethan Nakache released their digital interpretation of Turtle under the name Reptil.

Mothering Myths: An ABC of Art, Birth and Care is a 300-page book by Laurie Cluitmans and Heske ten Cate. It was designed by Bart de Baets in a softcover 24×32 cm format and published by Valiz (Amsterdam):

Motherhood is a theme that touches upon the core of life, but has nevertheless been kept in the private sphere, haunted by clichés, stigmas and myths for a long time. Motherhood has always been seen as trivial, not as a subject for real art. At the same time, artists with a womb faced the cliché that they had to decide between making art or having a child, as they both would take up all the time and energy of the mother.

Mothering Myths unravels these clichés, stigmas and myths, through the lens of art, and a transhistorical and intersectional perspective, at the same time being very playful and open to many interpretations. It breaks the perspective of the individual mother-figure and makes space for collectivity, different forms of ‘mothering’ and political questions around self-determination. Mothering Myths presents the emancipatory nature of the artist- mother, the voluntarily childless woman, the non-female mother and the raven mother, through concepts as kinship, revolutionary parenting, womb consciousness and reproductive justice.

This 1971 book cover uses a funky bold type that has striking similarities to Cooper Black Condensed: it’s West Cooper Nouveau. The small line at the top is in News Gothic. Headings in the book use classic Cooper Black. The text itself is set in Times, with chapter numbers added in the bold italic style of Caslon 3.

The Three Investigators is a juvenile detective book series, started by Robert Arthur in 1964. This book was written by Nick West, which is a pseudonym of Kin Platt (1911–2003). Harry Kane (1912–1988) provided the illustration. The series is continued to this day in Germany – under the title Die drei ??? – where it is particularly popular.

Title page with frontispiece

Detail of a chapter opening in Cooper Black. The number is in bold italic Caslon 3.

Detail of a chapter opening in Copper Black

City Atlas is a book that immediately recalls the travel-guide format: narrow, oblong, with rounded corners that fit easily in the hand. Much like Architectural Roots (Dell Upton, 1986), which inspired its conception, the book uses the atlas form to reflect on architectures shaped by migration. But City Atlas is not a conventional atlas. Instead, it collects stories, spaces, and signs of migrant work.

The project began between 2015 and 2019 in Saarbrücken, where Prof. Amalia Barboza, teaching at Saarland University (since 2019, she teaches at Kunstuniversität Linz, Austria), observed how the city could be read through its restaurants, shops, and other businesses built and run by migrants. The resulting book combines ethnographic observation with a visual archive and reflections on the ways people design their working environments, from the choice of a name to the decoration of an interior, often shaped by memories of home.

While its subject matter is serious—the visibility of migrant labor in a climate of political tension—the book also carries a sense of curiosity and openness. The photographs and short texts encourage the reader to linger on details: the signage of a shop, the decoration of an interior, the choice of a business name. These fragments, when seen together, form a panorama of urban life shaped by migration. Like a true atlas, it asks its readers to move across borders and cultures.

For the cover and appendix, large-scale lettering uses New Alphabet by Wim Crouwel (The Foundry). It is a constructed alphabet for stories of constructed spaces.

The main part of the book is set in Pantasia by Wei Huang (Counter Forms).

OPS Past Perfect by OPS Type is used for essay headlines and pagination, while the essay body copy itself is set in Times, providing a classical and neutral grounding.

All reconstructed shop logos use Suisse Int’l by Swiss Typefaces. This provides a unifying framework, standardizing disparate designs into a coherent visual register.

The book design guides the reader gradually. A short introduction eases the entry, followed by a recurring graphic motif: the shape of a boarding pass, signaling the themes of travel and migration. Text sections are interwoven with photographic sections, establishing a rhythm between narration and image.

The photographic work, all produced by Prof. Amalia Barboza, explores the same foil collages in three ways. First, they appear as framed images. Then the same foils are projected using an overhead projector, creating ephemeral, layered visuals. Finally, the foils are collaged onto window glass, merging printed architecture with the actual cityscape.

The layout is bilingual: all German text is printed in black, while all English text appears in Pantone 287 dark blue, giving the two languages distinct visual identities.
The essays follow a classical book-typography style, in contrast to the main section of 35 shop portraits, which are set in monospaced Pantasia. Within this grid, quotations are treated specially: they appear 1.5 times larger and shifted on the baseline, breaking the rigidity of the mono system while maintaining the grid. To avoid collisions of ascenders and descenders, additional baseline shifts are applied—these sections are “unicased.”

City Atlas was produced by Quatroprint in Brno, Czech Republic. The book is printed in two-color UV offset and comprises 228 pages on slightly transparent, thin paper (Munken Polar Rough 90 g), giving the volume a delicate, tactile quality. The binding is a Swiss-style sewn structure with blue thread and an open spine, allowing the book to lie flat.
The cover is made from cardboard with a partial UV glossy coating, designed to evoke the texture of passport cloth, reinforcing the themes of travel and migration. The corners are rounded.

The book invites readers to engage with cities as layered spaces of culture, labor, and imagination, offering a rich experience that extends far beyond its pages.

In The Eternal Adam and the New World Garden, historian and historiographer David W. Noble (1925–2018) investigates “the central myth in the American novel since 1830”. According to Richard A. Gerber’s review,

David W. Noble argues that the first European immigrants to America so firmly established the pattern of viewing the New World as virgin soil in which sinful man (The Eternal Adam) would be reborn that every major novelist from James Fenimore Cooper to Saul Bellow has been compelled to treat that problem as the “central theme” in his writing.

First published by George Braziller in 1968, this is the paperback edition that followed in 1970 in Grosset’s Universal Library. The typographic cover design pairs three different serif typefaces: Ed Benguiat’s high-contrast Fat Face, Montage, in its Extra Condensed width, (a phototype version of) Bodoni Bold Condensed (Sol Hess, 1934) which here serves as a cognate style suitable for smaller text sizes, and the unfailing Times in all caps for the authors’ names.

The Visual Lexicon Vol.1 brochure for Dan Mauz’s exhibition at Park Royal Gallery in London was designed by Black Skew and Dogma Studio using Feraz Condensed and Times.

Multidisciplinary artist Dan Mauz shares his mind and unconventional visual approach in his solo exhibition Visual Lexicon Vol.1, which displays selected paintings, sculptures and installations conceived by the artist in the past five years. Considering art as a form of understanding and communication parallel to language, clarity of intention and simplicity in material translation are key to Dan's practice.

Park Royal Gallery is a non-profit gallery in West London. They host exhibitions and events, supporting local artists, makers, and the community.

From OK-RM:

Frequencies addresses the notion of community through the lens of its making. For over a decade, it has involved members of Oscar Murillo’s family, studio team and collaborators, visiting 37 countries, over 400 schools around the globe, fixing over 50,000 raw canvas onto classroom desks, and inviting the students to freely mark, write and draw on them for a period of approximately six months.

Strings of ideas stem from a central concept, each performs its role to build the singular form: materiality, image, typography, structure and symbol. Exemplified by the cover, the diagram, extracted and optimised from our first presentation slide (in its original form designated to articulate the pace and structure of the book). In this context it symbolises the ‘frequencies’ of multiple participants, across the globe, in a central orchestration, in relation to the overall project.

The book was edited by Alessandro Rabottini, with texts by Mark Godfrey, Eleanor Nairne, Gabi Ngcobo, and Alessandro Rabottini. Frequencies was published by Hatje Cantz as a slip-cased softcover in July 2024.

In its very first issue, Bebe Magazine offers a broad constellation of possibilities for queer understandings, beyond identity-based reduction. Using the prefix trans- (across, beyond, through), each of our eight co-curators chose a term and formed mini collectives to destabilise its accompanying pre-established, societally accepted, conceptions—from transversal lines to transactions.

Bebe Magazine is a publication born out of the Ghent-based collective Bebe Books, focusing on collaborative and experimental approaches to cultural production. It provides a space for contributors to work together in exploring fresh perspectives and questioning established norms.

With a strong emphasis on collective creation, Bebe Magazine brings together curators, artists, and thinkers to navigate complex ideas and reflect on the shifting boundaries of contemporary culture. Each issue is shaped by the diverse voices and shared efforts of its contributors, making it a dynamic and evolving platform.

Title pages of the two volumes. Titles are set in FF Super Grotesk with its alternate a and g.

Texte und Zeichnungen einer künstlerisch forschenden Exploration metaphysischer Themen in Zeiten von maschinellem Lernen (“Texts and drawings of an artistic exploratory exploration of metaphysical themes in times of machine learning”) is my final thesis at the Weißensee Kunsthochschule Berlin.

Inspired by “Wenn die Sterne verlöschen”, the German version of Isaac Asimov's science fiction short story “The Last Question”, I have been experimenting with topics such as immortality, infinity, post- and transhumanism, artificial intelligence, the human body, cosmology and spirituality.

My two-part book is a foreign text collection, paired with my own notes, thoughts and drawings. With content that I have discovered, searched for, found, collected and sorted; stories, theories, essays, visions etc. from science, sci-fi, philosophy and art.

The work has nothing to do with theory or science, rather it is about an orientation towards the poetic, towards an artistic strategy and production. A personal confrontation with the present, with a view to the past and the future. The texts and the drawings are intended to attempt to open up new spaces of thought in their concatenation and to provide access to my thought structure, my universe.

In order to make it clear which contents are mine and which are foreign material, I have decided to use a color coding. So all “personal” contents, i.e. my notes, thoughts, awards and drawings are designed in the color blue — inspired by the infinite.

In my book every text is individually designed. Here, too, I have “quoted” and made the quotation the design principle. This way, the reader will always know when a new text begins or which text boxes belong together. In the best case the reading is linear, but there is also the possibility to read the texts crosswise.

The publication features 71 different fonts in total. Eight of them are shown in the included images, see the captions. The fonts that were used but aren’t depicted here are Akkurat, Aquinas, Arnhem, AT Apoc, AT Oroban, Azzurro, Beatrice Display, Big Caslon, Blazenburg, Brown, Century Schoolbook, Century Schoolbook Monospaced, Chap, Circular, Cirka, Courier Prime, Dia, Digestive, Druk Wide, Elastik D, Favorit, Five Years Later, Futura, Galapagos, Gotham, Gräbenbach, Grafier, GT Amerika, GT Pressura, GT Sectra, GT Walsheim, GT Super, Happy Times At The IKOB, Helvetica, IBM Plex Mono, ITC Franklin Gothic, Lausanne, Lexicon, Lucida Grande, Lyon, Lyyra, Meriva, Mineral, NB Architekt Neue, NB Grotesk, Neue Machina, Nitti Grotesk, Noe, Pensum, Rando, Sang Bleu King, Saol, Scto Grotesk, Serifbabe, Suisse Int’l, Suisse Int’l Mono, Suisse Works, Terminal Grotesk, Times New Roman, Tiny, Value Serif, Whyte, and ZXX.

In the second part of the book there are 112 drawings, where I have illustrated 112 terms from the texts. The respective terms are colored in the texts. The respective figure number is usually close to the term and can be looked up parallel in the drawings book. They are abstract illustrations of some of the most interesting keywords from the texts. Thus the drawings have helped me to better understand the contents of my selected texts. However, they are not a scientific representation but a personal interpretation. In addition, I had the drawings analyzed by an artificial intelligence.

I have used very durable materials in my entire design and the book format is also based on the infinite number sequence of Fibonacci, namely in a ratio of 1:1.618. The paper has a high durability as it is wood-free, there is thread stitching — the most durable way to bind a book.

Around the two books there is a transparent rubber and they are vacuum packed together. It was also a conscious decision to design the book as a raw book block without cover. It should draw attention to the incompleteness and incompleteness. To draw attention to the fragile personal.

All in all, my project is an investigative activity, which when and then confirms or redefines my views on the relationship between man and the universe and man and machine. In addition, overarching associations also arise. My attitude is fundamentally characterized by curiosity and a thirst for knowledge, which is not lacking in an appropriate skepticism towards the thematic complexity, but which always ventures out into new branches.

The index is set in the monospaced Nitti.

Pages 358/359 feature text in Times, ABC Favorit Mono, Suisse Int’l Condensed and Nitti.

This blue double-page spread is set in FF Super Grotesk again.

The typefaces used on pages 320/321 are Rosart and Ogg Display, with more FF Super Grotesk and Nitti.

Nitti is used for the index of drawings.

Page with a drawing and text in Product Sans and FF Super Grotesk

Studio Hi Ho has designed apparel for Melbourne-based cycling team DUDA. The caps and sweaters are produced by Contain, and are to be released at Up There, a fashion and sneaker boutique, also located in Melbourne.

The garments use Store Norske Graut from Skriftkompani, and Times Condensed.

Issue 06 of Respect magazine is title “Ailleurs, Ici” (“Elsewhere, here”). According to the magazine’s Instagram account, this issue deals with the concept or territories:

Territories seen by territories, experienced by their inhabitants, supported by public and associative players – that’s what our special territories feature is all about.

Respect is a French quarterly magazine, designed by Paris-based graphic design studio Zoo using Waldenburg, paired with a version of Times.

Le Cirque de Consolation in the second studio album of French musician Léonie Pernet. It was released by Crybaby & Infiné on the 19th of November 2021.

Pictures on the album cover are credited to Estelle Hanania and the make-up was made by Anthony Preel and the design is credited to Uncle O.

The text on the album cover is set in Estoril, except for the first letters of the words where Paolo Gothic is used instead. All other text is set in Times Italic, partially in faux small caps.

“Hard Billy” is a single from the album and was released in September 2021. Its release was advertised online with the same typographic choices as the album cover (Paolo Gothic for the first letters, and Estoril for the rest).

In this case, the picture is a still from the single's music video directed by Jean-Gabriel Périot in collaboration with maskcollective. The musician's name is displayed with the same typefaces near the end of the video (at 3m20s)

A single remix, followed by a remix EP called Le Club de Consolation were later released digitally, using Times for their cover’s text.

[More info on Discogs]

Wine52 is the UK’s largest wine discovery club, and a distributor of wines from all kinds of places. For a collection of wines from the D.O. La Mancha region in Spain, they approached five regional studios to create special label designs. Barcelona-based Atipus was invited to work on a Verdejo, an outstanding Spanish grape variety with citrus notes and stone fruit.

Atipus conceived both the name and the design. For the former, they settled on “Mejunje”. Not only has this word close linguistic ties to La Mancha. It also appealed directly to the product, as it denotes a homemade beverage featuring many ingredients. For the latter, the design studio opted for a purely typographic approach, inspired by the lurid aesthetics of vintage town party flyers and bullfighting posters. This includes loud colors (with a nod to the Spanish flag) and a nonchalant type treatment.

The name is shown in Signal Compressed by Production Type. Based on a lettering style commonly painted on roads, it has compressed letterforms intended to be easier to read from the driver’s perspective. Here the unconventional distribution of thicks and thins is employed for its eye-catching qualities and approachable amateur connotations. The other fonts follow suit: Bebas Neue and Linotype Didot are used with stretched proportions.

All text was arranged inside a triangular label. This shape references the typical neckerchiefs worn by Castilian women in traditional costumes.

Front of the box

This four-LP compilation box set with recordings of classical music conducted by Leopold Stokowski (1882–1977) was released by the International Preview Society in 1986.

For Stokowski’s name, the uncredited designer chose Green Buzzard D, the open style of Norman Green’s 1970 set of elaborately ornamented Art Deco caps, and gave the letterforms a multicolored fill.

“Russian Masterpieces” is in Letraset’s Dynamo Medium, with “conducts” in bold italic caps from Steile Futura. The label name is in Filmotype Yale.

[More info on Discogs]

Detail showing the chromatic treatment of Green Buzzard D

Back of the box. Composer names are in all-caps Dynamo Medium, with initials from Green Buzzard C. The titles are set in PLINC Belwe, which is distinguished from Letraset’s Belwe by a number of design details, including the wavy A bar, an S without top serif, and a flat-roofed T. There are more differences in the lowercase.

The front cover of the booklet has the same typefaces as the front of the box, here in black and white.

Back cover of the booklet, with text set in Times.

Study For No is the title of Issy Wood’s first solo exhibition in France. The show by the up-and-coming painter from London is on display at Lafayette Anticipations in Paris until January 7, 2024:

Borrowing its title from a 2019 painting, it explores the potential of refusal, discussing and resisting orders which secretly weave their way into our daily lives. Building through seduction, humor and cynicism, her work is marked by the recurrence of serialized motifs: hypersexualized glossy leather jackets, gleaming car interiors, immaculate porcelain sets, representations of animals, female figures, and self-portraits —all counting as sites where our ways of being are played out.

Curator Rebecca Lamarche-Vadel commissioned Pierre Vanni with the visual identity of the exhibition. Among the items designed by Vanni are the exhibition poster, subway ads, and a bilingual booklet. The selected artwork is an unnerving one, certainly for those of us who are dreading our next dentist’s appointment. It’s titled Study for Wednesday (oil on linen, 2022; © Issy Wood, courtesy the artist; Carlos/Ishikawa, London; and Michael Werner, New York. Photographer: Stephen James).

There are two title typefaces used throughout the applications: Kessler is Alaric Garnier’s contemporary take on inscriptional serifs, released with Production Type. Englische Schreibschrift is a classic Anglaise with not-quite-joining letters. It was made in-house at Berthold in the 1970s, under the supervision of Günter Gerhard Lange. All text is shown in silver, echoing the shiny metal of the dental drill.

The booklet text seems to be set in Times Italic.

OEI #84/85: cover

From the OEI website:

OEI is a Stockholm-based magazine for extra-disciplinary spaces and de-disciplinizing moments – experimental forms of thinking, montages between poetry, art, philosophy, film, and documents; critical investigations, editorial enunciations, aesthetic technologies, non-affirmative writing, speculative archaeologies, new ecologies and counter-historiographies.

For each issue, a new typographic treatment is commissioned by different (typo)graphic designers, with the actual production of each issue being done by the OEI editors themselves.

For the two double issues #84/85 (2019) and #86/87 (2020), the same treatment was used twice – for the first time. The issues originally were supposed to be one issue but as the number of pages by far exceeded the maximum, the publication was split into two issues, each counting around 640 pages.

For #84/85 and #86/87, Konst & Teknik / Peter Ström was commissioned. Below is a text that was included in OEI #86/87 on the typography, translated into English from its original Swedish.

14 TIMES TIMES — On the typography in OEI #84/85 and #86/87

Times New Roman is one of the most well known Roman typefaces in current times, originally drawn in 1931 by Stanley Morison for the Times newspaper in London.

During the century that has passed since, the technical conditions of typesetting and type design have drastically changed on multiple occasions. From the metal type that Times New Roman originally was drawn for, via phototypesetting, to the digital typography of the computer era.

Today typefaces are drawn and programmed to work straight on digital screens, either in layout software such as Adobe InDesign (for later reproduction on, for example, paper), or to work exclusively within the computer; in software, on web pages, and apps.

Times New Roman found its way into the personal computer quite early, as it was distributed with the operating system Microsoft Windows 3.11 in 1993. Since then a number of new versions and interpretations have surfaced: Everything from hand-drawn and mirrored versions, via conceptually interesting sans serif versions, to professional interpretations by established typeface designers. Worth noting here are Tiempos by Kris Sowersby (2010), LL Bradford by Laurenz Brunner (2018) and GT Alpina by Reto Moser (2020).

Times New Roman has in a way become as close to a “non typeface” as a typeface can ever be — rivaled only by other Microsoft-distributed typefaces such as Arial and Courier New.

Or, as the typographer (and lawyer) Matthew Butterick phrases it:

When Times New Roman appears in a book, document, or advertisement, it connotes apathy. It says, “I submitted to the font of least resistance.” Times New Roman is not a font choice so much as the absence of a font choice, like the blackness of deep space is not a color. To look at Times New Roman is to gaze into the void.

Today there are more than 20 digital typeface families that, in one way or another, draw references to Times New Roman. The initial idea for OEI #84/85 and 86/87 was to use all of them as a way to create an index of the evolution of printed matter over the last one hundred years. But as many of the fonts lack Swedish (or Danish) characters, are incomplete for other reasons, or are simply illegible, the amount was reduced to 14. All 14 come in both Regular and Italic versions, with a few selected exceptions where the italics have been emulated by manually slanting in the layout software — a homage to the era of early digital typography where italics weren’t always available.

The different versions of Times New Roman used are everything from professional versions, such as Times Ten, to unpublished interpretations used in earlier projects by Konst & Teknik, such as Times MMM Roman, a remix version of Moderna Museet’s own Times MM Roman, to free amateur versions like Tiny Times, a pixelated version based on the appearance of Times New Roman when rendered on low-resolution screens.

The 14 versions:

Times New Roman Regular & Italic
Dutch 801 BT Roman & Italic
Times Regular & Italic
Times MM Roman Regular & Italic
Times MMM Roman (K&T remix) Regular & Italic
Pantasia Regular & Italic
Times Ten Regular & Italic
Happy Times at the IKOB Regular & Italic
Times CG ATT Regular & Faux Italic (13 deg)
Times NR MT Pro Regular & Italic
#PCMyungjo (K&T edit) Regular & Faux Italic (13 deg)
Tiny Times (K&T edit) Regular & Faux Italic (13 deg)
Times LT Regular & Italic
Times ET Regular & Italic

In every project we take on as Konst & Teknik, the research and final decision of the typeface selection is crucial – often to such an extent that we have difficulties returning to the same typefaces more than once. The typeface selections reflect the project and its content so much that it becomes difficult to apply the same typeface selection on later projects.

Times New Roman in its different versions seem to be an exception, a typeface family we have returned to more times than once. Maybe thanks to its rich technical and visual history, making it easy to apply conceptually to different projects and commissioners. It is by far the typeface I have the most different versions of in my computer, making it easy to find a suiting visual expression within the framework of a "clear" typography. Because of this, it has for a long time been an interesting thought to apply all the different version at the same time to a bigger printed matter project thus making it possible to in detail compare the different version properly. OEI #84/85 and #86/87 offered that possibility, both content wise, conceptually and technically.

Peter Ström
Konst & Teknik
January 2020

OEI #86/87: cover, spine, and back

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

Front cover and spine to the Monster Series book on Frankenstein

Covers for the Monster Series from Crestwood House, a collection of 15 books published from 1977 mostly based on the monsters seen in the Universal Pictures films from the 1930s to the 1950s. The character titles for each book cover are set in an orange Neuland with white shadow or outline, sometimes on a curve or angle. The Monster Series logo/label uses Roberta. The back cover of each book aptly features the word “Monsters” set in Photo-Lettering's Monster, “from” set in an italic Times, and the Crestwood House publishers mark which appears to be based on Davida, albeit of lighter weight and more condensed proportions. The last page of each book also features a suggestion from King Kong set in Windsor. The spines and interior pages feature the author's name/s and text set in Optima.

Crestwood House is an imprint of the Macmillan Publishing Company.

Design is credited to Doris Woods, Randal M. Heise, Tammy Loe, and Baker Street Productions, Ltd.

Front covers to all 15 books in the Monster Series from Crestwood House

Last page of each book, featuring a suggestion from King Kong set in Windsor

Back cover, featuring PLINC's Monster

Vain Elämää is one of Finland’s most popular TV shows, where artists release singles of other artists with their own twist. This year, the show celebrates its 14th consecutive season. One of the featured artists was Finnish rapper Hätä Miika, taking on this task with a cover of “Ei Yksikään”, a song by CMX.

The artwork of his release shows a photograph of the rapper, paired with bold typography. Plakat from Out of the Dark track titles in a simple and minimalistic style; his stage name is modestly set in good old Times, reinforcing the boldness of the headlines.

Front cover with album title and artist name set in Safari

From Wikipedia:

Out of This World is an album by the Pepper Adams Donald Byrd Quintet. The album features the recording debut of pianist Herbie Hancock.

The album title and artist name are set in Safari. Additional type on the back cover is set in Akzidenz-Grotesk (aka Standard), Trade Gothic and Times.

Cover design by Blaise Studio. Released by Warwick Records. Additional album information on Discogs.

Back cover featuring Akzidenz-Grotesk, (aka Standard), Trade Gothic, and Times for the liner notes by Bill Coss