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

One-off malt whisky that has travelled halfway around the world on a long sea voyage from the island of Tasmania, Australia, where it was distilled and aged, to Jerez de la Frontera, Spain.

Once there, half of the shipment was finished in a very old Oloroso sherry cask and the other half in a Pedro Ximénez one.

The typefaces used are ITC Franklin Gothic, Burgues Script, Clarendon, Caslon 3, and Sackers Gothic.

This Sportsman’s Portfolio of Color-Etch Prints by illustrator and painter Fred Sweney (1912–1996) was created by the Brown & Bigelow Division of Standard Packaging Corp. and published by Chase Metals Service in Denver around 1960. The cover makes early use of Safari, an informal face with many alternate and interlocking letterforms issued by Headliners in their range of “naïve gothics”.

Here’s one for Javi, who’s fond of West Fantini.

Dave West’s slick standalone italic with swashy caps was used for the cover of The Leftovers Cookbook. First published in 1969 by David White, this is Grosset & Dunlap’s abridged paperback edition from 1972. It has the same cover illustration by Loretta Trezzo, who also might have done the typography.

Strange to your Ears: The Fabulous World of Sound with Jim Fassett is an album originally released in the 1950s by Columbia Masterworks. Hosted by Jim Fassett, this album consists of a series of strange sounds presented in a peculiar manner, and has become a cult classic for its experimental nature.

The title typeface is Morris Fuller Benton's Franklin Gothic Extra Condensed contrasted with Century Expanded Italic. Other typefaces are also found in the dotted speech bubbles.

[More info on Discogs]

Dust jacket of the hardback edition. The secondary typeface looks like some bold variant of Times New Roman.

Walter Sorell’s “exploration of the elements of humor as expressed through comedy, satire, and farce from Aristophanes to Ionesco, from Menander to S.N. Behrman” was published by Grosset & Dunlap in 1972. The swashy display typeface is Davison Art Nouveau, which in 1975 became “the Dune font”.

Cover of the paperback edition. Here, the small text is set in a different typeface, Caslon 3.

This Christmas album was recorded by Don Janse (1929–1999) and his Chorale & Children’s Choir, and released by Pickwick Records in the Mr. Pickwick series in 1973. The illustration is signed “U.M.”

The title, The Little Drummer Boy, is set in Big Fat. The open and shaded sans with counterless caps was released in the early 1970s by Lettergraphics. Its designer is unknown.

[More info on Discogs]

Detail

Heaven/Earth is a 1969 album from pop vocal group The Free Design.

The cover features the band name and album title set in Caslon No. 471 with its italic swash glyphs for the capitals, and roman for the lowercase. The album included a gatefold cover, with the heading and drop caps from another Caslon – probably (a version of) ATF’s Caslon Bold, of which the larger sizes were copied as Caslon 3.

[More info on Discogs]

Gatefold

Back cover

First published in 1965, this is the revised edition of Frances S. Wing’s “classic guide to the art of decoupage” from 1970. The jacket design has an adequately restrained use of the opulent Davison Art Nouveau: just one word, set on a curve, with two protruding curls.

The rest of the title and the author name are set in Caslon No. 540, while the five lines at the bottom appear to be in Caslon 3 (a.k.a. New Caslon).

Hat tip to Justin Hoggard.

The title page features Goudy Open in roman and italic styles.

LSC Caslon (later known as ITC Caslon No. 223) by Tom Carnase (b. 1939), put to early use in a single size for an ad for Ford’s Quality Car Care from 1969.

To assure smooth, precise power steering, Ford Motor Company engineers design important parts to tolerances 100 times thinner than a human hair.

A car so precisely engineered can be cared for best by the specialist – your Ford or Lincoln-Mercury dealer.

See him and be sure.

Kind of sad that ad copy writers in the Mad Men era could feel sure that the car dealer was a “him”. In their view, the role of girls was limited to clinging to the fish bowl.

Linotype takes out an ad in The Inland Printer, Volume 51, 1913, claiming patent infringement against Intertype. Intertype responded in the same year.

Source: books.google.com Scanned by Google Books. University of Minnesota Collection. License: Public Domain.

Source: books.google.com Scanned by Google Books. University of Minnesota Collection. License: Public Domain.

Intertype placed several brash advertisements in The Inland Printer during the trade magazine’s 1913 run. The first ad is a direct response to Linotype’s claim of patent infringement. In a slightly ironic twist, some of the ads (below) use the same typeface as Linotype’s ad, Caslon 3.

Source: books.google.com Scanned by Google Books. University of Minnesota Collection. License: Public Domain.

Source: books.google.com Scanned by Google Books. University of Minnesota Collection. License: Public Domain.

“This man is up to date. He knows the value of advertising.
This fellow never did believe much in advertising.

If we stopped advertising most of us would soon be forgotten.
Orders gravitate to the fellow who Hustles, Hollers and Humps.”

The text here is likely ATF’s New Caslon (sold by Linotype as Caslon 3). The type on the edges is one of the many Engravers faces available from various foundries.

See the Emergence of Advertising in America at Duke University’s online collection.

“A Pocket Guide To The Trees is filled with the wonder and surprise of trees. What tree has no leaves? What tree would make one hundred small homes? What wood burns brightly when green? What bark is lasting as rock? Here is no dry recital of details and distinctions, but rather a parade of tree personalities, each one as different and individual as your friends end neighbors.”