This self-titled LP was the first and only studio album by Jackson C. Frank (1943–1999). Recorded by Paul Simon with contributions by Al Stewart and Art Garfunkel, it was released in December 1965.

[More info on Discogs]

One year after MGM Records released The Very Best of Hank Williams, they followed up with a second compilation album. This time, the art department opted against a portrait of the legendary country singer, and for an entirely typographic cover design.

Williams’ name is set in a version of Egyptian Ornamented. “The very best of” is added in caps from Akzidenz-Grotesk Extra. Each of the twelve song names is shown in a different typeface. Or almost: one typeface appears twice. Can you spot it?

[More info on Discogs]

Gunman Connection is the debut album by Jamaican dancehall deejay Nicodemus, released in 1982 on the Cha Cha record label. The album was produced by The Morwells. The cover artwork was designed by Leo Roberts.

[More info on Discogs]

This compilation with “The Very Best of Chevalier” brings together a dozen hits by French singer, actor, and entertainer Maurice Chevalier (1888–1972), including “Valentine”, “Louise”, “Mimi”, and “Thank Heaven for Little Girls”. It was released in 1964 by MGM Records.

The big caps for “CHEVALIER” appear to be custom lettering, loosely based on Broadway (Condensed). The rest of the uncredited cover design is exclusively typographic, featuring twelve styles from ten typefaces (Peignot is represented by two weights, and Ultra Bodoni by roman and italic styles). Broadway also appears in unmodified form, for “Did You Ever See a Dream Walking”. Can you spot the LTypI?

[More info on Discogs]

Fundiciones de Ódena, S.A., or Funosa for short, is a Spanish foundry that produces cast iron components. Founded in 1916 and based in Òdena, Barcelona, the company manufactures parts for multiple sectors, including automotive, agriculture, construction, machinery, and railway infrastructure.

Their new website combines Scope with Inter. The logo is based on Futura Black.

Source: www.45cat.com dr.zoze /45cat (edited). License: All Rights Reserved.

“Ne Gledaj Me Tako I Ne Ljubi Me Više” single, Jugoton, December 1975, with the title set in caps from Futura Light

From Wikipedia:

Bijelo Dugme (transl. White Button) is a Bosnian (formerly Yugoslav) rock band, formed in Sarajevo, SR Bosnia and Herzegovina in 1974. Bijelo Dugme is widely considered to have been the most popular and the best-selling band ever to exist in the former Socialist Federal Republic of Yugoslavia and one of the most prominent acts of the Yugoslav rock scene and Yugoslav popular music in general.

Shown here are some of the bands album art and a concert poster, designed by Sarajevo designer Dragan S. Stefanović. The band logo, now an icon of the Yugoslav rock scene, is set in ITC Fat Face, in two tightly spaced lines, with the j pushing down the g.

The group disbanded in 1989, though it did see two revivals in 2005 and 2024. Also from Wikipedia:

Bijelo Dugme’s work remains popular in all former Yugoslav republics, the band often being considered one of the symbols of Yugoslav culture and their work being a frequent motif in various forms of Yugo-nostalgia.

Source: ru.pinterest.com Azra Duskan | Pinterest. License: All Rights Reserved.

Poster for a concert in Sarajevo on February 2, 1976, with small text in Bulletin Typewriter. The text in the upper left corner reads “Događaj meseca”, meaning “event of the month”.

Source: www.ebay.com 2you4ever. License: All Rights Reserved.

“Milovan” / “Goodbye Amerika” single by Željko Bebek with Bijelo Dugme, 1976. The diacritic was made from a tilde, and the first k was cropped.

Source: www.ebay.com zinkfilms (edited). License: All Rights Reserved.

“Džambo” / “Vatra” single by Ipe Ivandić with Bijelo Dugme, 1976. Note the mirrored g in the band name. The sans on these two sleeves is Horatio.

Source: www.45cat.com Js_and_Bs / 45cat (edited). License: All Rights Reserved.

The single sleeve for “Bitanga i Princeza” from March 1979 features ITC Fat Face for the title as well – with upside-down i’s. “Sa novog albuma” is added in Futura Black.

Source: sr.wikipedia.org License: All Rights Reserved.

Four album covers for Bijelo Dugme (1984), Pljuni i zapjevaj moja Jugoslavijo (1986), Ćiribiribela (1988), and Eto! Baš Hoću! (1976)

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

Cover for compilation album Ima neka tajna veza released in 1994 under the label of PGP-RTS. The title is set in Franklin Gothic.

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

Box set with ten remastered albums on CD, City Records, 2004

Source: www.ebay.com recordsale berlin. License: All Rights Reserved.

1996 reissue of the compilation Singl Ploče (1974–1975) on HiFi Centar, with ITC Stone Sans for the title.

Source: www.ebay.com Da’Hub Australia (edited). License: All Rights Reserved.

1996 reissue of the compilation Singl Ploče (1976–1980), also on HiFi Centar. In these applications, the logo lost the dot on the j.

In March 1996 TassinariVetta took over the art direction of Casabella, the historic architectural review founded in 1928. From that moment on the magazine has become part of the everyday life of the studio, where it is designed month after month.

Aiming to go beyond the traditional concept of ‘typographic architecture’ – which sees graphic arts subject to the universal compositional rules expressed in architecture – and to offer a new perspective on the world of letters, the 2024-25 cover design sets editorial objectives ahead of graphic ones.

Taking advantage of the constraints inherent in monthly publication in sectoralization and serialization, and enhancing repetitive elements—the masthead, headlines, but above all the sequential number—the project brings editorial content to the cover through the choice of the font used to compose the number, its graphic interpretation, and the explanatory note published on the inside pages, which is an integral part of the project itself.

Faithful to the magazine tradition, issue after issue, the choice of lettering or typeface moves through the 20th century between avant-garde and modernism, with forays into adjacent spaces suggested by unlikely discards or ambiguous analogies, while exploring the development of the industrial means underlying mechanical writing.

With philological respect—using fonts available under license, photographic reproductions of original specimens, or vector redrawing, as appropriate—and with the calibrated use of a color palette consistent with the magazine visual history, the graphic interpretation ultimately aims to bring the historical artifact into the present, contextualizing it in a contemporary and accessible language.

no. 976 – Lettering for the Tomba Veritti (Udine, Italy), Carlo Scarpa, 1951

no. 975 – Univers, Adrian Frutiger, Deberny & Peignot, 1957

no. 974 – Prisma, Rudolf Koch, Klingspor, 1930

no. 973 – LL Le Corbusier, Nico Schweizer (da Le Corbusier), Lineto, 1999

no. 971-972 – Memphis, Rudolf Wolf, Stempel AG, 1929

no. 970 – Ingenieur, Wim Crouwel, 1964, The Foundry Types, 2012

no. 969 – bayer-type, Hebert Bayer, Berthold, 1931

no. 968 – Mexico 68, Lance Wyman, 1966–68

no. 967 – Our Bodoni, Massimo Vignelli, Tom Carnase, WTC (World Typeface Center), 1989

no. 965-966 – Futura Black / Paul Renner / Bauer, 1929

no. 963 – Fat Face, Herb Lubalin, Tom Carnase, ITC International Typeface Corporation, 1970

no. 962 – Kabel, Rudolf Koch, Klingspor, 1927

no. 961 – Stop, Aldo Novarese, Nebiolo, 1970

no 959-960 – New Alphabet, Wim Crouwel, 1967

no. 958 – Frankfurter, Bob Newman, Letraset, 1970

no. 957 – Universal, Herbert Bayer, 1925

no. 956 – Oakland, Zuzana Licko, Emigre, 1985

no. 955 – Aldina (Aldino), Nebiolo, redesign Adalberto Libera, 1938

no. 954 – Kombinationsschrift, Josef Albers, 1926–28

no. 953 – Bifur, A.M. Cassandre, Deberny & Peignot, 1929

An advert from the early 1940s places the Bonmatí pharmacy at the upperside of the Rambla in Figueres, in the Catalonian region of Girona. Although the pharmacy moved to a new address few years ago, the old signage is still preserved at its original location. At the new address, the Bonmatí family preserves a ceramic sign and the cabinet that was used to store the labels for the pharmacy’s products. Typography and lettering, letterpress and lithography. A few millimetres of paper were used to create small graphic universes to organise the categories of pharmaceutical products.

“Para tomar a cucharadas” and “Jarabe de savia de pino”: Neo Futura (Neufville’s name for Futura Black), Grotesca ancha nueva (Gans), and Antigua Mercedes (Neufville’s name for Tages-Antiqua)
“Uso indicado” and “Uso interno”: Romana estrecha negra (Fundición Tipográfica Nacional)
“Veterinaria” (and also “Fricciones”, “Inhalaciones” etc.): Cleopatra negra (Iranzo)
“Alcohol 96”: Futura (Neufville/Bauer)
“Tintura de Yodo” (and “Alcohol alcanforado”): Futura chupada, Neufville’s name for Futura Condensed
“Agua picrica”: Predilecta (Iranzo’s version of Kristall-Grotesk)
“Limonada purgante”: Grotesca Mercantil (Gans; see Longina)

“Agua de azahar”: unidentified typeface

“A toques”: Bernhard-Kursiv fett (Bauer)

Rows 1–3: Romana estrecha negra (serif) and an unidentified sans
Row 4: Predilecta
Row 5: “Bicarbonato de sosa” is in an unidentified typeface that has several glyphs in common with Roundhead and is also very close to Runic Grotesque (but with asymmetrical T). “Una cucharadita cada 2 horas” is in Venus Bold (Bauer).

Row 1: Fresko a.k.a. Cartoon (Bauer) with Predilecta
Rows 2–4: Antigua Mercedes, Futura, and Cleopatra. The labels in the last row additionally features Grotesca ancha nueva (“Puncem”) and Futura Condensed.

Top left (“Timol”): a local version of Zeitungs-Grotesque (Grotesca ancha by Gans, Grotesca negra by FTN, or Fette Grotesk by Bauer), Venus, Futura chupada negra, Bodoni, and a local version of Copperplate Gothic (Helénica ancha by Gans or Espartana estrecha by FTN)

Top right (“Callicida”): an unidentified wide grotesk, Futura, Venus

Bottom left: both weights of Cleopatra, Futura Italic, Grotesca ancha nueva, and a fine Bowl of Hygieia

Bottom right: Venus and Futura

Lithographic labels by J. Garcia printing house, Barcelona. Most text on these is lettering. The address is added in Cleopatra.

Different styles of lettering

Source: www.abebooks.com Librairie du Bassin (edited). License: All Rights Reserved.

Futura and its planar, stencil-like display companion Futura Black are less of a formally harmonized pair than, say, Scala and Scala Sans. Despite this fact – or rather because of it? – they have been used together quite a bit.

The third-edition cover of France de nos jours (“Contemporary France”) from 1968 is another such example. Here, the parts of Futura Black’s letterforms alternate between red and blue, the French national colors. The book by literary scholars Germaine Brée (1907–2001) and Charles Carlut (1911–2004) was first published in 1957.

That Summer in Paris is a book by Morley Callaghan (1903–1990). In 1929, the Candian novelist “spent some months in Paris, where he was part of the great gathering of writers in Montparnasse that included Ernest Hemingway, Ezra Pound, Gertrude Stein, F. Scott Fitzgerald, and James Joyce.” [Wikipedia]

His “Memories of Tangled Friendships with Hemingway, Fitzgerald and Some Others” were published in 1963. This is the cover of Dell’s paperback (Laurel Edition 86649) from 1964, featuring all-caps Futura Black in the French national colors.

The Große Düsseldorfer Kunstausstellung was a large art exhibition that took place at Düsseldorf’s Kunstpalast (Ehrenhof) from 9 April to 7 May 1961.

Wolf D. Zimmermann designed the key visual and brochure cover. He opted for a lockup involving seventeen times the letter D (or d), for Düsseldorf. Many of the featured typefaces were released in the decade before the exhibition, including Salto (Klingspor, 1952), Vendôme italique (Fonderie Olive, 1953), Pro Arte (Haas, 1954), Time Script (Weber, 1956) Folio schmalfett (Bauer, 1956), and Papageno (Bauer, 1958). The only typeface to appear twice, in upper- and lowercase, is Volta (Bauer, 1955).

The exhibition title at the top is added in Helvetica. I’m not quite sure if the elongated didone D really is from Onyx. And I didn’t track down the specific Bodoni (?) version.

Via Jens Müller, who praises Zimmermann as one of his favorite designers.

This is the shop front of Βασιλάκης (Vasilakis), a home goods store in Heraklion, Crete. The company was founded in 1981 according to its website. Its current logo, found also on its website, does not reflect its sign, which uses a tweaked version of Futura Black.

Το Παιχνίδι (To Paihnidi, English: “The Toy”) is a sustainable and educational toy store chain in Greece. The brand was created in 1978.

The photo at the top shows the store in Patisia, Athens, with a sign set in uppercase Futura Black. Most other shops including the one in Chalandri shown below have a sign in lowercase letters.

Grazin’ is the debut album by The Friends of Distinction, released in 1969 by RCA Victor. The album features the group’s biggest hit, “Grazing in the Grass”, a soulful vocal adaptation of Hugh Masekela’s instrumental hit, which became a Top 10 single on the Billboard Hot 100.

The album cover was designed by Apple Graphics and prominently features the use of Futura Black.

[More info on Discogs]

Futura Black with an usually wide A, on the cover of the first German pressing of The Who’s My Generation. The debut album by the English rock band was first released on 3 December 1965 by Brunswick Records in the United Kingdom, with an identical cover design. In the United States, it was released on 25 April 1966 by Decca Records as The Who Sings My Generation, with a different cover and a slightly altered track listing.

From Wikipedia:

The UK release featured a cover image of the band standing beside some oil drums and looking upward to the camera, with splashes of colour added by the red and blue stencilled letters of the title and a jacket patterned after the Union Flag thrown over John Entwistle's shoulders. Pete Townshend was wearing his school scarf. For the US release, this was replaced with a portrait of the band standing beneath Big Ben.

Text on the back cover is set in some version of Trade Gothic or similar, distinguished by an oddly narrow S.

[More info on Discogs]

From Wikipedia:

The Three Degrees is a 1973 studio album released by girl group The Three Degrees. Since their formation in 1965 until 1969, The Three Degrees had released several hit singles on various labels, including Swan Records, Warner Bros. Records, Metromedia, and Neptune. Their first studio album, entitled Maybe was released on Roulette Records in 1970 as were several other singles on the same label.

The sleeve design by Ed Lee brings together a photograph by Owen Brown and tracked out caps from Futura Black.

[More info on Discogs]

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Personal Money Management is a textbook created by Bailard, Biehl & Kaiser Inc., an investment firm in Menlo Park, California. The book was published in many editions, from 1969 to 1992. This 1973 edition was designed by Naomi Takigawa who credited the typefaces Century Schoolbook and Blippo Modern in the colophon. The latter appears to be Facsimile Fonts’ copy of a design that may have originated at VGC as Bubble. Blippo Light [a copy of Harry Thin, see comments] is used for the author names on the cover.

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.

The charming drawings throughout the book are by Ralph Mapson. This one includes lettering inspired by Futura Black.

Poster urging people tο donate to a "Social Welfare Fundraising" during the Greco-Italian war of 1940-1941.

It is attributed to the famous Greek engraver Anastasios Alevizos (1914–1985), commonly known as Tassos. As a member of the communist party from 1930, Tassos went on to actively participate in the communist led resistance organization ΕΑΜ Καλλιτεχνών (Artists' National Liberation Front). EAM was the largest resistance organization in Greece against the Axis forces but only gained legal recognition in 1982, a consequence of the prevailing Cold War ‘red scare’ atmosphere.

Tassos designed the poster at the printmaking studio of Athens School of Fine Arts, led by the Professor Yannis Kefallinos, where he had previously been a student. The studio was the only workshop that used to offer training in what is termed “graphic arts” in Greek (namely a combination of type design, graphic design, book binding, printing techniques) within the realm of Greek fine arts institutions.

It was printed at the V. Papachrisanthou lithographic workshop in Athens (according to the current archival entry of the digital depository of the National Documentation Center).

The typeface that served as the inspiration for the probably lettered sentence “έδωσες ΕΣΥ” is Futura Black. Whether based on a Greek extension or devised by the artist, the lowercase letters and accents are beautifully drawn in the spirit of Futura Black and are perfectly legible by native speakers.

Typography! Techno! Bowling!

Centre label designs for KiNK’s For The People EP on Hypercolour, marking their 100th release on the label.

Jamie Russell and Alex Jones set up the Hypercolour imprint back in 2006 and the label continues to dish up genre-bending bangers two decades down the line. For the label’s milestone 100th release, KiNK cues up a killer four-track release with ‘For The People’.

One of house music’s most in-demand producers and remixers, KiNK has delivered time and time again for labels such as Running Back, Royal Oak, Macro and his own Sofia Records label, and so it’s with great honour that the Bulgarian artist commemorates the label’s centenary with a kaleidoscopic bundle of hyperactive bangers!

Featuring Dinamo’s Diatype Rounded, supported by Velvetyne’s CirrusCumulus as well as Futura Black and Extra Bold Condensed.

[More info on Discogs]

This contribution is being compiled on Donika Venkova’s seventy-sixth birthday of 19th November 2023 and features her eponymous debut LP from half a century ago.

Her name for the front cover is set in Futura Black, in Latin script in the top right-hand corner and in Cyrillic script in the bottom left-hand corner. It would appear that the initial Д in “Доника” has been adapted from the Latin A, with the cross bar whited out and with a pair of “feet” added. Further thereto, the Cyrillic И is a Latin N flipped vertically, the rest of the name consisting of glyphs shared with Latin script. The “BTA 1639” is, like the main subsidiary text on the rear cover, set in Edel-Grotesk and also the track-listing has been set in an X-shaped form by means of indentation. Credits and other small text on the back are in Literaturnaya.

This occasion has been celebrated with a post at “Girls of the Golden East”.

[More info on Discogs]