Groovy Goodies is a compilation album released by Colpix Records, with songs by James Darren, Sandy Stuart, Freddy Scott, The Marcels, Paul Petersen, Shelley Fabares, Teddy Randazzo, The Ronettes, and some others.

The title at the top is set in Hopplebopple, one of ten animated and hilariously named alphabets drawn by Richard Rosenblum and made available from Photo-Lettering in 1964.

No designer is credited, but it might be by Sid Maurer. Maurer is credited for the cover art of another album released by Colpix around the same time – Nina Simone’s Folksy Nina – which likewise used one of the Rosenblum’s then freshly released typefaces. In any case, Rosenblum’s style had quite a moment at Colpix: In Concert / Everybody’s Listening is a third example from that year.

Found by John, who is looking for in-use examples of Rosenblum’s phototype faces and related designs.

[More info on Discogs]

No. 1 from 1966 uses Venus Light Extended for secondary text.

Culture Vivante was a cultural periodical published by the Ministère des Affaires Culturelles of the provincial government of Québec from 1966 to 1973. It attempted to give a panorama of cultural life in Québec across all disciplines and report on the activities of the Ministère. As the only officially French-speaking government in North America, the province has directly involved itself in culture, in the manner of France. Culture Vivante was a prestige publication that unfortunately suffered from a limited distribution, and was criticized for being too fancy for a government publication.

The all-lowercase logo uses Craw Modern.

On the cover of no. 11 from December 1968, the small print is in Univers.

By the time no. 27 came out, in December 1972, Univers had been replaced by Helvetica.

Front cover

From Wikipedia:

Sit Down Young Stranger is Canadian singer Gordon Lightfoot's fifth studio album and his best-selling original album. Shortly after its 1970 release on the Reprise Records label, it was renamed If You Could Read My Mind when the song of that title reached #1 on the RPM Top Singles chart in Canada and #5 on the Billboard Hot 100 in the US. The album itself reached #12 on the Billboard 200 chart. In Canada, the album was on the charts from April 18, 1970, to November 27, 1971. It peaked at #8 on March 13, 1971 after an earlier peak at #12 on June 20, 1970. Its last 24 weeks were spent in the 90s, except for appearances at #88 and #100.

The artist’s name and album titles are set in Octic Extended, using its eroded alternates. Catalog number is set in Craw Modern. Type on the back of the album cover is on an angle, with additional text set in Optima.

Design and photography by Tom Wilkes and Barry Feinstein.

Front cover of the renamed release

Back cover of the renamed release

The front cover of a game and fish cookbook, published by Brown & Bigelow in 1960. “Game & Fish” is set in Craw Modern (1958), with the line underneath it in Venus Medium Italic. Everything shown here is set in all caps.

Filmotype Gaucho and Franklin Gothic Condensed for the cover typography of The Return Of The Doodletown Fifers by the Sauter-Finegan Orchestra, released by United Artists Ultra Audio in 1960 in their Wall To Wall Stereo series. The series name is in the newly released Craw Modern.

[More info on Discogs]

Grafika 1 (1970), ft. Bauhaus Prisma K from Ed Benguiat’s Bauhaus Prisma & Prisma Bauhaus. This series of multiline faces was introduced in the same year and showcased in PLINC’s Art Deco-themed Alphabet Directions No. 11.

Covers for various clip books of line art issued by Harry Volk Jr. Art Studio, Pleasantville, New Jersey. See the previous post about the clip books issued in 1955 for more information on Harry Volk Jr. Art Studio.

These booklets belong to a subseries titled Grafika. It was introduced in 1970. Until 1972, 18 numbered issues were produced. From No. 19 on, the number was no longer shown prominently, and Grafika were merged into the regular series of clip books. Collector Bart Solenthaler comments:

Volk published several titles in addition to the regular clip books – including Grafika – that started out with a distinct mission, but they all eventually became interchangeable in content to their other offerings.

Although not yet used for the first issues, ITC Fat Face soon emerged as the identity typeface for the Grafika series, and was maintained for later additions, see e.g. No. 113 from 1980. Like ITC Avant Garde Gothic and ITC Ronda, ITC Fat Face is the work of Herb Lubalin and Tom Carnase. These three typefaces were all released in 1970.

Grafika 2 (1971) ft. ITC Avant Garde Gothic, with the numeral 2 from Craw Modern or similar tucked into the counter of the monocular a.

Grafika 3 (1971) appears to use a solid, filled-in modification of Bauhaus Prisma. When compared to Bauhaus Alpha or Bauhaus Geometric (PLINC’s precursors of ITC Bauhaus), the differences are most notable in the counters of R (not round) and A (much larger), as well as the K with more even arms. G was trimmed for tighter spacing.

Grafika 5 sees a return of Bauhaus Prisma K, here with an “Arabic” numeral. This thick-thin-thin-thick-thin face is also used for No. 7.

Grafika 8 (1971) proudly features ITC Fat Face, with ligatures for ra and fi. While the latter was included in the font, the former appears to be a clever custom invention. This eventually became the de facto logo of Grafika.

Grafika 9 (1971) uses a phototype version of Clearface. According to the One Line catalog (1971), Photo-Lettering, Inc. offered the design in 4 weights and 2 widths, plus italics. In 1978, ITC released a version in 4 weights, credited to Victor Caruso. ITC Clearface is narrower than the variant used here. The text in light lowercase letters inside the counter is set in ITC Avant Garde Gothic.

Grafika 11 (1971).

Grafika 12 (1971).

Grafika 14 (1972). “A Gallery of Contemporary Art” is in tightly spaced ITC Ronda.

Grafika 15 (1972).

Grafika 16 (1972).

Grafika 17 (1972).

Grafika 18 (1972).

“America” (No. G20, 1972) ft. tightly spaced caps from Futura Light, with a custom CA ligature. The small text here is set in all-caps Helvetica.

“Design Devices” (No. G22, 1972) ft. Advertisers Gothic.

“Ad Animals” (No. G25, 1972) ft. Mania.

Ranwood is an “American label founded in 1968 by Lawrence Welk and Dot Records president Randy Wood. […] The label's name is a contraction of Randy Wood’s name.” – Discogs

The logo uses caps from Fantail, set on a curve. The subline (“Records” or “Records, Inc.”) is in Craw Modern. According to Hans Reichardt, Fantail was released by the Johnson Type Foundry circa 1860. The face with horizontal contrast and flared terminals (fantails) also appears in Farmer’s 1867 specimen under the name Arcadian. In 1968, a phototype version was available from Photo-Lettering, among others. Richard Beatty’s Wanted RB (1991) is a digital version.

In addition to the logo, Fantail also is used for Ranwood’s slogan (“the ultimate in stereo recording”) – and the call to action (“send 25¢”) on the generic inner sleeve, see below. The cheap printing makes the hairlines appear much heavier.

First American edition of the last book by French author Violette Leduc (1907–1972), published by Farrar, Straus & Giroux in the year of her passing. The experimental novella was written solely in dialog form.

The cover illustration by Pat de Groot is paired with type in Freeman Craw’s Craw Modern.

American swing jazz pianist Milt Raskin (1916–1977) is, according to Space Age Pop Music —

best remembered among exotica fans for what he himself may have considered one of his less memorable efforts: Exotic Percussion, also released as Kapu, on the notorious Crown Records.

Issued in 1969, Exotic Sounds Of Hawaii is a stereo variant of Kapu, “complete with birdcalls and all the other weird ambience” — donhonyc

Unlike many of Crown’s releases, which packaged public domain performances or uncredited cuts from far-earlier sessions and packaged them to take advantage of whatever musical trend was getting sales at the moment, Exotic Percussion is a suite of Raskin originals, apparently recorded specifically for the release. It shares many of the elements of other classic jungle exotica classics such as Les Baxter’s Ritual of the Savage, Robert Drasnin's Voodoo!, or Stanley Wilson’s Pagan Love: titles evoking primitive languages and pagan rituals; a mixture of unusual percussion instruments tossed in in imitation of native chants and drum songs; and good old Hollywood film music.

Helvetica (RI), Karmina Sans (GRA), Geneva (tnK) … and what else?

In November 2018, Ariana Grande dropped “thank u, next” — a twinkling, catchy pop song that shimmers with gratitude for her exes, while evolving into an anthem about self-love. The song became sensational overnight, and surpassed 100 million streams on Spotify in just eleven days — making it the fastest song in history to reach that milestone.

She released a lyric video along with the drop, making use of the ransom note effect by mixing up a bunch of familiar fonts including Arial, ITC American Typewriter, Gill Sans, Myriad, and Geneva. There are also some unexpected ones, like Emigre’s Fairplex Wide and Joshua Darden’s Freight Display. Can you identify the missing ones? Let us know in a comment!

This art style was also a perfect setup for her music video released a month later, when Grande re-enacted four early 2000s movies: Mean Girls, Bring It On, 13 Going on 30, and Legally Blonde. The letters reappear on the cover of Grande’s “Burn Book”, but unlike Regina George’s gossip, Grande fills the book with positive traits and fond memories of her exes.

Director: Chris Shelley @Create
Editor: Remington Franklin
Producer: Light Switch Digital

Geneva (an), Courier New (R), Fairplex Wide (pE) and maybe Big Bag (Te); Arial Rounded (M), Pistilli Roman (S), ITC American Typewriter (th), Freight Big (Ank L), Arial (fU).

Gill Sans (tA) and slanted Alternate Gothic (gH).

More Geneva (taNK), Craw Modern Italic (nE), Arial Black (t).

Craw Modern Italic (fu g), Arial Black (inG), Alternate Gothic (Ra), Pistilli Roman (f), American Typewriter (Y).

Arial Black (t) and Italic (Ha), more Craw Modern Italic (nk), Pistilli Roman (u, Xt), Arial Rounded (n).

New York: Crest Books, 1959.
First Crest Printing. 288 pages.

Press Release:

JetBlue today is officially introducing its newest special livery aircraft, “What’s Old Is Blue Again.” The JetBlue RetroJet boasts a one-of-a-kind paint scheme designed to celebrate the iconic jet age of air travel and to highlight JetBlue’s innovative style. To create the look, JetBlue dug into an archive of popular logos and notable companies from the mid-1960s to essentially reverse-engineer the JetBlue brand and envision what the customer-friendly carrier of today might have looked like some five decades ago.

The aircraft design features bold JetBlue orange and blue “speed stripes” down the length of the Airbus A320, a popular characteristic of 1960s aircraft paint schemes. Above the window line “JetBlue Airways” is printed in a font [URW Franklin Gothic] consistent with a typeface [such as News and Franklin Gothics] widely used in the time period. And because today JetBlue is New York’s Hometown Airline® serving nearly 100 destinations across the U.S., Caribbean and Latin America, the words “New York International” accompany the airline’s name. But perhaps most notable is the aircraft tail. Absent is a simple airline logo or icon. Instead, JetBlue’s RetroJet tail features three colors and a lively 1960s jazz-inspired font [Craw Modern] that would have stood out among other airlines of the time. It’s a jet age take on JetBlue’s hallmark tails of today.

For inspiration, JetBlue designers spent several days at New York’s Lubalin Archive at the Cooper Union poring through original advertisements, graphics, images and fonts from the 1960s. The team looked to leading brands for guidance on common themes and design elements that were widely used and associated with 1960s style.

Direction: Lashonne Duncan
Designers: Ciara Cordasco, Bailey Sullivan

Craw Modern with URW Franklin Gothic.

Craw Modern.

“Byte magazine was an American microcomputer magazine, influential in the late 1970s and throughout the 1980s because of its wide-ranging editorial coverage. … From 1975 through 1986 Byte covers usually featured the artwork of Robert Tinney. These covers made Byte visually unique. In 1987 Tinney's paintings were replaced by product photographs.” — Wikipedia

The original BYTE logo was set in Countdown. In the mid-1980s the mark was modified into a custom set of letters that were more blocky due to squaring off the circular counters.

See full issues of BYTE magazine on the Internet Archive.

Royal System was a Danish brand of modular wall units designed by interior architect Poul Cadovius (1911–2011) from 1945 through the ’60s. The ads below were published 1959–69.

December 1959

January 1962

May 1964

September 1964

April 1969

Coraware produced metal trays and coasters in the 1960s–70s. On the other side of these is this awesome psychedelic cat.

Dollhouse: “Suburban Estate Set”

The 1963 toy catalog from Sears, Roebuck and Company. Detail images taken from this set.

Ken™ doll wordrobes: “Ken has an outfit for every occassion.”

“Magnetic Action Doll House”

“Battery-powered Marx Riders”

Found at C86.