Theatrical release (40″×60″) poster

From Wikipedia:

The Lord of the Rings is a 1978 animated epic fantasy film directed by Ralph Bakshi from a screenplay by Chris Conkling and Peter S. Beagle. It is based on the novel of the same name by J. R. R. Tolkien, adapting from the volumes The Fellowship of the Ring and The Two Towers. Set in Middle-earth, the film follows a group of fantasy races—Hobbits, Men, an Elf, a Dwarf and a wizard—who form a fellowship to destroy a magical ring made by the Dark Lord Sauron, the main antagonist.

While the art on the posters is by Tom Jung, the title is shown in lettering loosely based on Victor Hammer’s Hammer-Unziale (1923). It’s paired with American Uncial (1943) – a later typeface by the same designer – for Tolkien’s name. Hammer-Unziale also sees direct use for “fantasy beyond your imagination” on the poster shown below. The billing block is set in ITC Bookman. ITC Korinna, another design by Ed Benguiat, features for the synposis and the character names, respectively.

International One Sheet (27″×41″) poster

Subway (45″×58.75″) Advance poster

Cover of Volume 1 (of 2)

Parker’s description of all living organisms published in 1982 in a two-volume set by McGraw-Hill. The books cover the entire tree of life, with all organisms described in their taxonomic relation to each other and with (usually short) synopses. Lest you get too excited by the scope of this ambitious project (and it is in my opinion almost ludicrously ambitious) be forewarned that most taxa are described only down to the Family level, and of course, biology has moved on a lot since 1982. A modern equivalent is the Tree of Life web project.

The two volumes make a weighty addition to any biologist’s bookshelves.

The cover has the title foil stamped in VGC’s American Uncial Bold, and leads into a foil stamped rectangle around a depiction of a DNA molecule undergoing replication and a simplified tree of life. The volume number is from the original American Uncial.

No cover designer or typographer is mentioned specifically, but Edward J. Fox is credited as art design/production director.

Spines showing both volumes

Title page with frontispiece of Vol. 1. Names of editor and publisher are in Optima Bold. The locations use Baskerville.

Title page with frontispiece of Vol. 2. The illustrations are by Howard S. Friedman.

Covers of both volumes

From Wikipedia:

At the end of 1970, the First Edition had their seventh Top 40 hit with the Kin Vassy-penned “Heed the Call”. Another song about the need for brotherhood, it was seen as an uptempo counterpart to the balladry of “Tell It All Brother.”

[More info on Discogs]

Jacket design for a book about transits, an astronomical term that refers to planet movements. In this astrological context, it’s about planets that move across one’s “natal planets”.

The title of the book uses American Uncial, whilst the remainder is set in right-aligned Gothic No. 545, see Lining Gothic.

“The Wedding” (No. 268) ft. Bookman Swash Bold in all caps italics with three swash alternates.

Covers for various clip books of line art issued in 1975 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.

In most issues from this volume, “Clip Book of Line Art” is set in a light weight of ITC Avant Garde Gothic, with alternates for A and e.

While Volk predominantly used phototype styles from Filmotype’s library in the late 1950s and early 1960s, they had switched to Photo-Lettering (and later ITC) by the end of the 1960s. The covers in this post also feature a number of faces that originated elsewhere. Burko was issued by Headliners (and copied by Facsimile Fonts as part of the Blippo series). Checkmate started out at Schaedler (and was adopted by Photo-Lettering). Yagi Double is a Facsimile Fonts creation. Their Bob Trogman claims credit for Uncle Bill. Zipper and Premier Shaded are Letraset originals. Archie and Rock Opera may have been created at Lettergraphics (the latter is a derivative of Letraset’s Frankfurter).

Or did Volk maybe tap into Formatt’s library of faces for dry-transfer lettering? Their catalog no. 5 from 1974 shows several of the styles used on these covers, including Rock Opera, Tip Top, Eurostile, Uncle Bill (as Brother Bill), Checkmate (as Tournament), Copperplate (as Broker Shaded), Archie (as Chuckle), Yagi Double (as Circuit Double), and Titan.

“Holidays” (No. 269) ft. Benguiat Caslon.

“Entertainment” (No. 271) ft. ITC Neon, set on a curve.

“Telephones” (No. 272) ft. Cooper Black Italic with swash caps and Folio with biform alternates.

“Occupations” (No. 273) ft. Eurostile Bold Extended and Akzidenz-Grotesk.

“Winter” (No. 274) with one of the adaptations of Mexico Olympic, probably Hotline by Lettergraphics.

“Men” (No. 276) ft. Checkmate.

“Spring” (No. 279) ft. Saphir.

“Holidays” (No. 277) ft. Archie.

“Circus-Fair” (No. 628) ft. West Barnum Ultra.

“Spring & Summer Sports” (No. 629) ft. more Eurostile Bold Extended.

“The Farm” (No. 630) ft. ITC Busorama with its alternate glyphs.

“Summer” (No. 631) ft. caps from Tip-Top.

“Medicine” (No. 632) ft. Columna.

“Media” (No. 635) ft. Burko.

“Homemaker” (No. 637) ft. Zipper.

“Human Relations” (No. 638) ft. Columna Solid with what looks to be a customized R, or maybe an alternate that was exclusive to some (VGC’s?) phototype version. Bauer’s original (open) Columna has two forms for this letter, none of which matches the one seen here.

“Fall & Winter Sports” (No. 639) ft. Revue with EndcapS.

“Christmas” (No. 640) ft. American Uncial Initials for “Christmas”, with the text version used for the line below. [Thanks, Bryson!]

“Crowds” (No. 643) ft. Premier Shaded.

“Couples” (No. 644) ft. Yagi Double.

“Safety” (No. 645) ft. Stencil (Ludlow).

“Teens” (No. 647) ft. Rock Opera AKA Shady Deal, a copy of Frankfurter with a line pattern fill.

“Groups” (No. 648) ft. Uncle Bill.

“Industry” (No. 649) ft. Blippo Black.

“Children” (No. 650) ft. Davida.

“Borders” (No. G60) ft. Orbit Shaded. The logo of the Grafika subseries is in ITC Fat Face. The script appears to be lettering.

“Pointers” (No. G53) ft. Novel Gothic with arrows.

“Conrad Zilch” (No. G51) ft. Banco …

… accompanied by “Cora Zilch” (No. G56).

“Design Devices” (No. G54) ft. Titan, a Baby Teeth follower of unclear origin.

“Money” (No. G59) ft. Bond Shaded AKA Bond Shaded.

“Contests” (No. G61) ft. Orbit Rimmed.