Erol Büyükburç ve efsaneler – Hop Dedik album art
5 Comments on “Erol Büyükburç ve efsaneler – Hop Dedik album art”
What you describe as Lombardic caps are letterforms from Breitfette Unziale. This alphabet was drawn by Walter Haettenschweiler and Armin Haab in 1967. According to Haettenschweiler, it’s based on uncial letterforms from Roman times, with missing glyphs added by him. This piece of lettering was reproduced in the third volume of Lettera (1968). I’m not aware of a film type adaptation. Chances are the album designer sourced the letters directly from the book – and added the missing diacritics.
I don’t recognize the reverse contrast slab. It could be an obscure film or dry-transfer face, or custom lettering. “Stereo” is in Pierrot (Günter Jäntsch, 1973).
The italian designer Fabian Maier Bode did a revival of the constrasted slab typeface. He called it Cantiere.
That’s interesting, thanks for the link, Arnaud! It’s definitely a related style, but as none of the letterforms is a perfect match, I don’t think it’s based on the same source.
There are not a lot of bold oblique slab serifs with pronounced horizontal contrast. Arthur Murawski’s Magnet (1951) is one. Ed Benguiat drew an inclined Italienne in 1965. A sample is reproduced in SVA Visual Arts Journal, Fall 2016, p80, under the working title Playbill Cursive. This face appears in two weights in PLINC’s Alphabet Thesaurus Vol. 3 (1971) as Benguiat Omni Oblique.
The slab serif appears to go back to a design by Alex Stocker. A single word reading “hot” is shown on the website of the Museum für Gestaltung Zürich. I haven’t found out yet if there was a full alphabet. Like Walter Haettenschweiler, the designer of Breitfette Unziale, Stocker was a contributor to the first Lettera book.
Edit: that single word “hot” is included in the first volume of Lettera, on page 90.