From Wikipedia:

Our Mother the Mountain is the second studio album by country singer/songwriter Townes Van Zandt, released in 1969. It is considered to be one of his greatest recordings and features some of his best known works, including “Be Here To Love Me”, “Snake Mountain Blues” and “Our Mother The Mountain”. […] The artwork for Our Mother the Mountain was designed by Milton Glaser and the album cover features an arresting shot of Van Zandt taken by Allen Vogel.

The heavy geometric sans used for the title looks a lot like Futura Extra Bold (Intertype, 1952). In fact, it’s the earlier Airport Black, issued by Baltotype c.1943. Differences include the smaller counters (see for example the O), the lower crossbar in A, and the lighter middle bar in E, see this 1959 specimen. Photo-Lettering carried an adaptation of Airport Black for phototypesetting.

For the logo of Poppy Records, Glaser used his own Baby Teeth.

[More info on Discogs]

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, front cover

In July 2016, Australian electronic group the Avalanches released their second album, Wildflower.

While the front cover has no type at all, except for a sticker with Jersey M54 for the band name, all-caps Arnold Böcklin for the album title, and ITC Franklin Gothic for additional text, the typographic party takes place on the back: it features a different style for each track on the album, with embroidered letterforms. Most of the song names are based on fonts, with or without modifications.

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, back cover

The Leaves Were Falling: Brush Script
Because I’m Me: handwriting?
Frankie Sinatra: Benguiat Caslon (or a digital version thereof, like Emfatick NF)
Subways: Arial Bold
Going Home: Gillies Gothic
If I Was A Folkstar: West Barnum
Colours: Electric Circus
Zap!: (similar to) Strand Midnite
The Noisy Eater: Baby Teeth
Wildflower: Arnold Böcklin
Harmony: Tango
Live A Lifetime Love: Allura
Park Music: ITC Avant Garde Gothic (?)
Livin’ Underwater (Is Somethin’ Wild): loosely based on Williamson Skidoo (?) and an unidentified script
The Wozard of Iz: Pretorian and Futura
Over the Turnstiles: Motter Femina and Turnpike or similar
Sunshine: Broadway
Light Up: lettering?
Kaleidoscopic Lovers: Commercial Script
Stepkids: Kabel Black
Saturday Night Inside Out: Druk Condensed or similar?

The headings for the sides of the vinyl version are in Windsor Extra Bold Condensed.

The art direction is credited to Chris Hopkins at Lost Art and band member Robbie Chater. Hopkins also provided design and illustration, the latter together with Emi Ueoka. Fergadelic (Fergus Purcell) did the butterfly logo. Kris Vierra took care of quilting and textiles.

[More info on Discogs]

Source: www.ebay.com rowerecords. License: All Rights Reserved.

CD version, front cover

Source: www.ebay.com rowerecords. License: All Rights Reserved.

CD version, back cover

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

Inner sleeve with more octagonal caps

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

Inner sleeve ft. a naïve sans and script lettering based on Kalligraphia

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

Inner sleeve with more Baby Teeth and lettering similar to Williamson Skidoo. The Biz Markie photo is by David Corio.

Source: www.ebay.com bratfordchris. License: All Rights Reserved.

Sheet with five promo stickers

Source: lost-art.com License: All Rights Reserved.

Vinyl record label

Inside back cover advert for Repton 2 from Superior Software.

Repton was a hugely successful and influential game on the BBC Micro, and spawned a host of sequels and knock-offs, including an open-world game with end-user created content. In a discussion of it in the book Acorn – A World in Pixels (in an article titled “The Making of Repton”) I find Chris Payne, marketing manager for Repton 2, to be one of us: he is quoted as saying “I used to sit in bed at night browsing through books of typefaces [...] and came across a newish typeface called Dave, so I asked Mike Ellis to use it for the strap line at the top of the Repton 2 advert.”

Interesting, as I had not heard of a typeface called Dave, so I went looking for the Repton materials. Time passes and it becomes hard to determine exactly which advert Chris Payne was referring to, but I note the Repton 2 advert in Micro User #36 does have a strapline... in a font i don’t recognise.

“Repton” is in the instantly recognisable Baby Teeth, which is also used for the earlier Repton, and the later Reptons. The 2 is in an airbrushed version of Quicksilver.

The Superior Software wordmark and “Acorn Electron / BBC Micro” are in ITC Bauhaus.

The body and much of the secondary text is set (tight-not-touching) in, well, I want to say ITC Avant Garde Gothic, and the £ sign very much wants me to say that, but the numeral 1 does not. An alternate from E+F?

Repton is the name of the character you play, and the average internet consensus seems to be that Repton is a lizard. Repton is also a village in Derbyshire and a school, but those are apparently unrelated.

The unfolded inlay (front) for the cassette version of Repton 2 (for the BBC Model B and Electron). Blue Ribbon (wordmark in Edda) was a budget label, publishing jointly with Superior Software. Because this is the budget release, this is likely a few years after the original 1985 release.

First UK edition of From Bauhaus to Our House, Tom Wolfe’s narrative on modern architecture, published in 1982 by Jonathan Cape.

Both the author’s name and the title are shown in Milton Glaser’s Baby Teeth, using the Letraset version issued in 1974. Jacket designer Craig Dodd did a few modifications, though: the horizontal in H was made thinner, and the W was turned upside-down and repurposed as M, apparently to make Wolfe’s first and last names rhyme visually. Last but not least, Dodd opened up the O with a vertical slit – after all, this letter appears quite a lot, and the default counterless shape would have be too dominant. The O in the last line escaped this treatment – it’s hiding behing a stylized building anyway.

King Solomon is an album by Solomon Burke, released in 1968 on Atlantic Records. The album continued Burke’s run as one of the premier voices in soul music, blending gospel, rhythm & blues, and deep southern soul. It features standout tracks like “I Wish I Knew (How It Would Feel to Be Free)”, “It’s Just a Matter of Time”, “Party People”, and “Keep a Light in the Window”.

The cover was designed by Loring Eutemey. It features Baby Teeth for the album title, supported by what appears to be Antique for the heading text.

[More info on Discogs]

Baby Teeth in early use on Take a Look, a compilation album by Aretha Franklin, released in September 1967 by Columbia Records. The uncredited designer filled Milton Glaser’s graphic letterforms with a four-color stripe pattern of alternating rotation.

The song names are in Twentieth Century Ultrabold, which was carried by PLINC as Futura Ultra Bold. Interestingly, “Featuring” uses a different, almost identical typeface: judging from the wide A, the round G, and the thin middle bars in E and F, this is Airport Black.

[More info on Discogs]

Poster design for Major Murphy at Bell’s Eccentric Cafe with Phabies and Crooked Spires in Kalamazoo, Michigan on September 7, 2023. All thanks to Baby Teeth Dotted by the great Milton Glaser, this poster echos the charming tones of Major Murphy.

Front cover. Baby Teeth’s staircase E is echoed in the brown door.

1970 double album by American comedian and activist Dick Gregory (1932–2017). Words from Dusty Groove:

Dick Gregory at his most righteous – recorded live at the Bronx Community College, and speaking on topics that include The Black Panthers, the Chicago 7, Black Power, Money, Patriots, Riots, and “Checking Out Whites”. Less funky than political – which actually makes it a lot more compelling than Gregory’s early work.

For the album art, Milton Glaser used the Opaque style (without counters) of his own Baby Teeth. The front cover shows the face of Frankenstein’s monster in a small window. On the gatefold, the creature is shown in full, dressed in stars and stripes, and now leaving his prison cell through the opened door. This picture was reproduced as a large foldout poster (34.2″×22.4″) that was included with the album.

[More info on Discogs]

Gatefold

Back cover with track list and credits in reversed Futura

Poster

Cover with a sticker advertising “Milton Glaser’s giant Frankenstein poster”

1969 release by the Lester Lanin Orchestra which was formed in the 1930s and led by Lester Lanin (1907–2004). According to the title, this big-band jazz/easy listening album is an attempt at “narrowing the generation gap”, featuring adaptations of recent hits like the Beatles’ “Ob La Di, Ob La Da” and (1968) “Aquarius” from the musical Hair (1967). The cover design tries to appeal to a younger audience as well, embracing a flowery hippie aesthetic complete with multicolored blossoms, a rainbow, a butterfly, and a dove.

The typeface is Milton Glaser’s Baby Teeth, set on a curve and used in the counterless Opaque style. While “Lester” features the alternate E with a short middle bar, the title has the same form but with tiny apertures as found in the Line style.

Design by Michael Mendel, with art direction by Sid Maurer and illustration by Sandy Hoffman.

[More info on Discogs]

Source: archive.org License: All Rights Reserved.

From Wikipedia:

El Chavo (English: The Kid or The Boy, but chavo also meaning “cent”); – also known as El Chavo del Ocho (English: The Kid from number Eight or The Boy from apartment #8) during its earliest episodes – is a Mexican television sitcom created by Roberto Gómez Bolaños, produced by Televisa. It premiered on April 27, 1972 and ended on June 12, 1992 after 7 seasons and 311 episodes. The series gained enormous popularity in Hispanic America, Brazil, Spain and other countries.

Since the start of the show, the logo uses Baby Teeth. The title card design evolved over the years, with Milton Glaser’s geometric typeface being a constant. Around 1978, Baby Teeth was also used for the credits in the opening sequence.

The Internet Archive has archived most of the more than 250 episodes. Read more about the history of El Chavo on Lost Media Wiki, and see also the dedicated Fandom site.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Title card from 1972

Source: archive.org License: All Rights Reserved.

Title card from 1978

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: www.imdb.com Televisa, Roberto Gómez Bolaños. License: All Rights Reserved.

Undated poster, likely designed in the digital age

This album by the Eastman School Of Music Jazz Ensemble under the direction of Rayburn Wright was “recorded live in the Eastman Theatre during the 1975–76 season by Ros Ritchie, director of recording services at the Eastman School Of Music of the University of Rochester.”

The title typeface is Baby Teeth, but used with a twist. Apparently cover designer Bruce Marsh deemed Milton Glaser’s design a tad too angular, and introduced more round elements. He didn’t achieve that by altering the letterforms, but rather by cleverly repurposing some of the glyphs included in Letraset’s adapation: the first E is actually the ampersand (&), the round-top A is an upside-down U, and the final E was intended as the pound sign (£). For even greater variety, Marsh flipped a W for the M in “Eastman”. These small interventions give Baby Teeth a surprisingly fresh look.

The photograph is by Louis Ouzer. Francis Crociata wrote the liner notes, which are set in ITC Serif Gothic.

[More info on Discogs]

Detail from the track list / liner notes

Detail with the credits

Roots & Herbs is an album by Art Blakey & The Jazz Messengers, recorded in 1961 at the same sessions as The Freedom Rider, but not released until 1970, on the Blue Note label.

The typeface is Milton Glaser’s Baby Teeth, featuring an ampersand that’s different from the one in the original photostat design and also the one in Letraset’s adaptation. Chances are it’s the one included in Photo-Lettering’s version.

[More info on Discogs]

Beautiful Future album cover [More info on Discogs]

Beautiful Future is the ninth studio album by Scottish rock band Primal Scream, released in July 2008. The artwork for the whole campaign was done by Julian House at Intro, embracing a low-fi aesthetic that appears to reference elements of psychological horror/slasher films. The album cover looks like a movie title that was photographed from a TV screen, bathed in blood red and shot at an angle from up close, exposing its raster pattern.

In terms of typography, House went back to Letraset faces from the 1970s. The album cover has Baby Teeth, a design by Milton Glaser that here can be read as claustrophobic, and that shares characteristics with Philip Castle’s lettering for A Clockwork Orange – a reference that is further enforced by the wide open eyes.

For the first single “Can’t Go Back”, House selected all-caps Shatter, set in three tilted lines. This use of the psyched design by Vic Carless ties in with poster designs for movies like Schizo (1976) or Dracula (1973). Shatter is supported by Helvetica Bold, i.e. its unscathed precursor. The B-side of the vinyl release has a cover version of Hawkwind’s “Urban Guerrilla”.

The series is concluded by the second single “Uptown”, featuring another (retro-)futuristic design from the days of rubdown type: it’s Colin Brignall’s Countdown, a name that oscillates between tech euphoria and threat, and ryhmes with the song title.

“Can’t Go Back” single cover (front) [More info on Discogs]

“Can’t Go Back” single (label)

“Can’t Go Back” single cover (back)

“Uptown” single cover [More info on Discogs]

A silence sign, ubiquitous in hospitals and clinics in Spain from the late 1960s to the late 1980s. The text, which uses Baby Teeth, says Por favor (Spanish for “please”). Nurses stopped using the uniform that appears in the photo in the 1980s. The sign was (also) produced in the form of a postcard.

A copy that has lost its colors of the years, hanging on a tiled wall.

In 1989, Sharp launched a television with a built-in Nintendo Entertainment System. A prominent door on the front panel hides the cartridge slot, and is emblazoned with a magnificently embossed “GAME” set in Baby Teeth.

Book jacket of the hardback edition by Houghton Mifflin, Boston, 1977. The title is set in a condensed Goudy Heavyface. Author name and subtitle are in what looks like ITC Cushing. This revival of Cushing Oldstyle was made by Vincent Pacella. It wasn’t released by ITC before 1982, so this is probably a precursor that was exclusively available from Photo-Lettering, Inc. Pacella worked at PLINC where many of the ITC fonts were produced. The photograph is by Todd Tarbox.

From the inner flap:

In this important and controversial book, Geneva Smitherman defines Black English as
comprising a set of grammatical and phonetic rules, a special lexicon, and a particular rhetorical style. In analyzing these elements, she discusses attitudes toward language and explains the differences in usage and in linguistic attitudes that often lead to misunderstandings between blacks and whites and offers specific suggestions for public policy that would recognize the validity and make use of Black English. Shifting occasionally into Black Idiom as she writes, Dr. Smitherman makes clear that Black English is a vital and effective language, as legitimate a form of speech as British, American, or Australian English.

Dr. Smitherman relies heavily on black culture and its inherent African oral tradition for examining and understanding black speech. Talkin and Testifyin provides the immediacy of a culture, language, and experience that ranges from African villages to Motown, from myth to reality, from the sacred to the secular. Interwoven throughout the text as evidence for the author's arguments are the words of Frederick Douglass, Curtis Mayfield, W.E.B. Dubois, Richard Pharr, lmamu Baraka, Claude Brown, Nikki Giovanni, Smokey Robinson, Maya Angelou, Richard Wright, Bessie Smith, the Reverend Jesse Jackson, Stag-O-Lee, Martin Luther King, Jr. , Chinua Achebe, Langston Hughes, James Brown, Adam Clayton Powell, Isaac Hayes, Malcolm X, Aretha Franklin, Haki Madhubuti, Frankie Crocker, the Reverend C.L. Franklin, Jesse B. Simple, and many others.

Title page of the Houghton Mifflin edition. Cooper Black Italic is used for the title (with swash caps), and Baskerville for other text.

Cover of the paperback edition by Wayne State University Press, Detroit, 1986, pairing Baby Teeth and ITC Avant Garde Gothic.

"Dorothee L. Mella—author, lecturer, and communications consultant—is a pioneer in the field of color psychology. Ms. Mella is owner and president of Domel, Inc., a color communications firm consulting with individuals as well as business, industry, and educational institutions. The firm specializes in the application of color as a language and the use of color in the practical arts of living. Over the past fifteen years, Ms. Mella, previously a design and art teacher, has appeared on national and local television, was a cooperative gallery owner, and has authored five books on the practical uses of color."

“Omar Rayo en la Segunda Bienal Americana de Artes Graficas / Museo La Terulia / Cali Colombia, Octubre 1973.” Stripes (1973) is paired with Pump Bold (1970), which is used without i dots.

Omar Rayo (1928–2010) was an abstract art painter from Colombia whose geometric Op Art works have been exhibited multiple times at Museo La Tertulia and at Museo Rayo in Cali. The two museums collaborated on a retrospective exhibition with paintings from both collections. Each time a catalogue was printed it featured a different typeface arrangement, mostly with geometric display typefaces. Both museums even made an special exhibition in 1977 called Los Rayos del Museo Rayo y los Rayos del Museo La Tertulia.

Some exhibition catalogues like the one for La constante geometría from 1972 had original lettering, but most of the covers and posters are early examples of instant lettering typefaces in use, with very original typesettings. Unfortunately I couldn’t find any information about the designer of these printed materials.

Another exhibition from 1985 called Rayo Serie Raya Blanca Raya Negra shows Stripes in use. In Spanish, Omar’s family name Rayo could be translated to “ray”, but when used in feminine form, Raya means “stripe”. In this case, it transtales to: Rayo White Stripe and Black Stripe Series.

Joc Line (1973).

Stop (1971) and caps from an unidentified wide grotesk (similar to Akzidenz-Grotesk or Venus breit) for Omar Rayo at the Museu de Arte Moderna de São Paulo.

Sans-serif caps from what appears to be a predigital cut of Helvetica, cropped and repeated.

Traffic (1973).

This piece of lettering appears to be modeled after Pacella Graphic Biform or Bailey.

Deutsch Black (1966).

These letterforms that look like folded paper strips are either custom drawn or from an unidentified typeface.

Compacta Bold Outline (1965) on an angle, with a circle punched out and rotated.

Eurostile neretto largo (1962), caught in a grid.

ITC Ronda Bold (1970), with a crop-and-repeat treatment and a custom interlinear ligature.

Good Vibrations (1973).

Yagi Link Double (1968).

Baby Teeth (c. 1966).

Hot Dog (1975). While most of the other typefaces were carried by Letraset, Hot Dog was exclusive to their competitor Mecanorma.

These caps look like they’re from Moore Computer (1968). The Y isn’t a match, though – it might be an alternate, or a modification.

This ladder-like arrangement appears to use custom drawn letterforms.

Poster for Rayo Serie Raya Blanca Raya Negra (1985), featuring Stripes and Helvetica. The Museo Rayo logo at the bottom left is based on ITC Avant Garde Gothic, while the text at the right is set in caps from Wexford.

Poster for La Constante Geometria (1972), ft. more ITC Ronda and Univers Ultra Condensed or similar. The big “OMAR RAYO” is probaby custom. For similar extracompressed digital fonts, see Radiator or Fit Skyline.

“Home To You”, 2019.

Last year’s Reward album and single covers by Welsh musician Cate Le Bon represent a nice contemporary use of Milton Glaser’s Baby Teeth. With its monumental and geometrical modernist shapes, it complements well the very graphic set of photographs and forms displayed on each cover. The design has been made by Huw Gwynfryn Evans a.k.a. H. Hawkline, a Welsh visual artist and musician who also plays on the record, and who happens to have created the art for many noteworthy albums these past years. Among them, evidently other Le Bon’s albums, Aldous Harding’s Designer, Kevin Morby’s Harlem River (with Tim Presley) and of course, his own records.

[More info on Discogs]

“Daylight Matters”, 2019.

“The Light”.

Reward LP.

Reward LP.

LP cover.

American folk band Pearls Before Swine’s record covers are best known for their systematic use of classical artworks (Bosch’s Garden of Earthly Delights on One Nation Underground, Millais’ Ophelia on …Beautiful Lies You Could Live In, etc.) Those choices have been often regarded as a meaningful echo to the rich psychedelic visions of the band’s singer-songwriter, Tom Rapp.

On their 1970 album The Use Of Ashes, a detail of late Middle Ages’ mysterious tapestry The Hunt of the Unicorn is paired with the Dotted version of Baby Teeth. Art direction is attributed to Ed Thrasher on Discogs, who is also known for the famous visuals of Prince and The Revolution’s Purple Rain.

Cassette cover.