Ivy DF is used in Redken’s commercial for their Acidic Bonding Concentrate Leave-in-Treatment, starring singer and actor Sabrina Carpenter. The supporting upright style is some Didone.

“Live” on Tour in Europe is the only album by the Billy Cobham–George Duke Band, released in 1976 by Atlantic Records.

Cal Schenkel designed the cover, using an illustration by Jim Warren. The band's name is set in Mats, designed by Joe Taylor and released by 1970 by Lettergraphics. The album title and the credits on the back are set in Helvetica.

[More info on Discogs]

Radio City is the second album from the American rock band Big Star.

The front cover features the title and artist set in Bentley at a large point size, with the title using the outline style. On the back cover, Bentley is also used for the band members (in the outline style) and track listing, with additional credits in ITC Avant Garde Gothic. “Ardent Records are distributed by the Stax Organization” and some fine print underneath are set in all-caps Eurostile.

[More info at Discogs]

The New Antiquarians is a publication by Phaidon, which

features twenty-two young connoisseurs whose spirited interiors exemplify unorthodox approaches to living with history. (...) The book is an exuberant entry point into the world of antiques, highlighting one-of-a-kind collections and the single-minded collectors whose stories suggest compelling new ways of living with the past.

I worked with the writer, art historian and curator Michael Diaz-Griffith, and the team at Monacelli and Phaidon to craft the full visual world for the book, with special attention paid towards creating an object that felt appropriately historic – without leaning too far into pastiche. The book design had to be thematically consistent enough to link together such a disparate set of interior styles, while still leaving room for each subject’s unique perspective to hold appropriate space.

The result was an eclectic typographic and compositional system that spoke to 19th-century book design, balanced out by an approach to color and illustration that varied from chapter to chapter; each collector in the book was paired with a carefully curated archival spot illustration, border, and palette that reflected their particular visual idiosyncrasies and interests.

The book uses an eclectic mix of type that nods to myriad eras and art movements. Body text is set in Henry, 205TF's take on Garamond, which brings a delicate formality to long blocks of copy (especially when italic), while the chapter headlines, title page, and jacket spine use Albertus in all caps – a nod to the classicism of Roman square capitals. Chapter numbers are set in the Art Deco-inspired Top Tune JNL from Jeff Levine, contributor names in Canada Type’s swashy Monte Cristo, and captions and subheads in the utilitarian Styrene A (Commercial Type).

The book jacket and case further riff on the border motif established for chapter headings, with the former utilizing a reworked public domain illustration from the 19th century to create a cover scene that evokes a stage or a window – supported by a title set in Daylight Fonts’ Ivy DF, with custom ligatures – while the latter takes the frame concept to its logical, slightly absurdist, extreme for the interior embossed hardcover.

Hardcover, 292×241 mm (11.5×9.5 in), 272 pages
Book photography by Brian W. Ferry

Martin Luther King, Jr.’s Why We Can’t Wait was originally published in 1964 by Harper & Row (see the post on Fonts In Use). This mass-market paperback edition was published following King’s assassination in 1968.

The quote on the back is set in News Gothic, alongside the author’s name in Alternate Gothic and the title in Permanent Massiv, as seen on the front cover.

The interior is set in Times New Roman, with all-caps Century Expanded for chapter titles.

Snow White Dove is the debut album by Leeds based musician James Shakeshaft and his band. The artwork channels the look of folk and country covers of the 1960s and 1970s featuring a header set in Indigo designed by André Chante (alias Andy Song) and issued by Hollenstein in Paris around 1972, Franklin Gothic and Nimbus Sans.

Photography by Michael Hodges.

Song of Love is an album with soul/jazz songs based on texts from 1 Corinthians 13, known in German as Hohelied der Liebe. The lyrics were written by Roman Catholic priest Wilhelm Willms (1930–2002), with several of the titles composed by Peter Janssens (1934–1998), co-founder of the Sacropop branch within the genre of Neues Geistliches Lied (NGL).

What Is Wrong With Grooving comments:

Deutscher SOUL. Weird stuff. Xian music by Peter Janssens and vocals by Jutta Hahn and Marc Anthony.

The cover design pairs photography by Ari Van Sandvoort with two rainbow-themed display gems: the all-caps Indigo and the all-lowercase Arc en ciel were both designed by André Chante (alias Andy Song) and issued by Hollenstein in Paris around 1972.

[More info on Discogs]

A multi-colored use of Indigo for Horizonte (“Horizons”), the 57th exhibition organized by B·A·T (British American Tobacco) in partnership with the Caspar David Friedrich show at Hamburger Kunsthalle, shown from 3 October to 23 November 1974 at the B·A·T-Haus on Hamburg’s Esplanade. The smaller text is set in center-aligned Futura Light.

Front cover (German release on Bacillus Records, a sublabel of Bellaphon)

Hard Times, Good Times is the fourth – and final – album by Zoo, a French prog rock band that was active between 1969 and 1972. It became their most successful LP release.

Their self-titled debut album as well as several early single releases featured a band logo with bold condensed letterforms of pronounced horizontal contrast, with circular counters in the O’s. This piece of lettering provided the inspiration to Zoo, a typeface designed by Quentin Coulombier in 2019. In 1972, after numerous changes to the personnel, the band didn’t use that logo anymore: the cover shown here is graced by Indigo, a typeface for good times (and just what I need on a dark December day), designed by André Chante and issued shortly before by Studio Hollenstein, Paris.

The album art was created by Nicole Claveloux and Bernard Bonhomme. While the album title is set in caps from ITC Avant Garde Gothic, the track list and credits on the back are in Futura.

[More info on Discogs]

Detail

Back cover

2014 reissue on O-Music, Germany

A tricolore Indigo on the cover for “Slag Solution”, the only release credited to europop act Gemello Twins, issued in 1973 in French label Credit Music. The Baby Teeth-like face came in six variants with different pattern fills. It was designed around 1972 by Andy Song alias André Chante for Hollenstein, Paris. On this 7″ sleeve, it’s paired with caps from Flyer. Printed by Graphicolor, Nanterre.

Via Buro Destruct’s Fonts from the flea market series.

[More info on Discogs]

Les Variations were an influential French rock group that sung in English. They made multiple TV appearances in the United States and abroad. This single features Indigo’s Magic variant.

“Old Fashioned” (No. 166) features two Western-style typefaces that probably originated at Filmotype in the 1960s. They’re both shown in an undated c.1974 Filmomaster specimen, as Van Horn and Quincy. The latter is also known as Amanda.

Covers for various clip books of line art issued in 1968 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.

The bottom lines use Alternate Gothic Compressed and Univers.

“Holidays” (No. 167) ft. Gonzales Jeanette with a custom star dot that echoes the fuse.

“Expressions” (No. 168) ft. Reklame. This old German typeface was adopted by Photo-Lettering and shown in their 1971 catalog as Reclame. The punctuation is from Pistilli Roman, see the comments.

“Strength” (No. 170) ft. West Behemoth with tight and overlapping spacing and the monocular g.

“Telephones” (No. 171) ft. Filmotype Gamma.

“Religion” (No. 172) ft. Baker Chalone.

“Entertainment” (No. 174) ft. Norton Vaudeville.

“Contests” (No. 175) ft. Eurostile Bold Extended.

“Atmosphere” (No. 480) ft. Playbill.

“Direct Mail” (No. 481) ft. Univers, Venus Extended, and Franklin Gothic Wide.

“America” (No. 482) ft. Egyptienne Bold Condensed.

“Summer” (No. 483) ft. Chwast Art Tone on an angle.

“Marine” (No. 484) ft. Kalligraphia.

“Western” (No. 485) ft. Bookman Swash Bold Italic

“Autumn” (No. 486) ft. Staudel Xenotype J.

“Science” (No. 487) ft. Britannic.

“Fall & Winter Sports” (No. 488). This narrow grotesk looks a lot like an outlined version of Schmalfette Grotesk, or maybe PLINC’s adaptation Swiss Gothic, but it seems the ampersand doesn’t match. Any insights are welcome. The same outlined style appears on Volk covers from 1964 and 1974, while the “Law & Order” booklet from 1966 uses the similar Permanent Headline.

“Transportation” (No. 489) ft. Permanent Headline.

“Christmas” (No. 490) ft. Inserat-Grotesk.

“Couples” (No. 492) ft. Whimzitype 3600. Illustration by Tom Sawyer.

“Groups” (No. 494) ft. Futura Light.

“Insurance” (No. 495) ft. Permanent Massiv. The small text on this cover is set in Helvetica.

“Occupations” (No. 497) likewise shows light caps from Futura. Illustration by Tom Sawyer.

“Women” (No. 499) ft. Smoke in all caps.

“Money” (No. 500) ft. more Futura Light.

“Spring & Summer Sports” (number unknown), ft. Eurostile.

“Register and Vote” from the Paste Pot & Scissors subseries (No. PP 105), ft. Pacella Monitor and Franklin Gothic. The small type at the bottom is in Eurostile.

“Announcers” from the Paste Pot & Scissors subseries (No. PP 107), ft. Photo-Lettering’s West Behemoth Italic Swash with swash alternates and overlapping glyphs.

“Luck” from the Paste Pot & Scissors subseries (No. PP 108), ft. Mansard (with contour), another face available from Photo-Lettering. It might also be Jim Dandy, a contoured variant of Slim Dandy by Lettergraphics.

“The Year” (No. PP109) ft. more all-caps Smoke, here with its peculiar Y.

“Clichés” (No. PP110) ft. Palette on an angle as well as an early use of PLINC’s Ballard.

“Borders” (No. PP115) ft. Clarendon caps.

A poster typeface catalog from phototype supplier Hollenstein featuring a center graphic with Indigo Regular, Magic, Flower, and Kitsch. Read more about Indigo in this Use: Novum Gebrauchsgraphik, no. 6, 1972.

“Bye, Bye, Birdie” seems to be the first and the only single recorded by Schlager duo Peter & Felix. It was produced by Drafi Deutscher. The names are in Anonymous. The song titles are set in Bentley which came in five styles, each with Biform variants.

[More info on Discogs]

In 1978, Pathé / EMI released a series with all the operettas sung by Spanish popular tenor Luis Mariano (1914–1970).

All four covers use the same typographic mix which is quite characteristic of the 1970s: Mecanorma Poster for the name and number, Charleston for the title (Toutes Ses Opérettes), and Karlgeorg’s Hoefer’s Permanent Massiv for the stacked lines — everything in all caps.

The back cover of Nº 1 combines Letraset University Roman (or Mecanorma Celtic?) with DeVinne Ornamental and Univers Extended.

The artist name on the back cover of Nº 4 appears to be lettering, based on Mecanorma Poster. The track list and credits are in Univers.

Source: www.logoarchive.shop Logo Archive. License: All Rights Reserved.

Indigo was drawn by André Chante (alias Andy Song) for Hollenstein Phototypo, Paris. This cover for German graphic design magazine Novum was designed by Chante himself.

The top line shows Indigo with a rainbow fill, as also seen on a German pharmacy sign. The cover of Hollenstein’s specimen Fantaisies Exclusivités (1972) features more variants with different fill patterns, including the open/outlined Indigo Éclairé — and also the floral and starry patterns used here in lines 2 and 4. The clouds in the bottom line pop up again on a record cover from 1975. Makes me wonder whether the cartoon characters from line 3 really were included in the retail version of this decorated typeface series as well!

The cover of this live album by Brazilian musician Jorge Ben Jor uses Indigo. Here its solid shapes are not filled with rainbows, but rather with multicolored clouds. This cloud pattern already made another appearance on a magazine cover three years earlier, which suggests that it was available off-the-shelf from Hollenstein Phototypo.

P.S.: This style is named Indigo Nuages (“clouds”).

[More info on Discogs]

Quite a funky sign for a pharmacy in Öhringen, Germany.

I had a feeling that these counterless letters filled with rainbow patterns might be typographic, i.e. prefabricated, as opposed to custom drawn (note to self: when in doubt, it is always a font). I couldn’t quite put my finger on it, though.

Luckily, Flickr user jch02140 identified the typeface as Hollenstein’s Indigo, a rather obscure design from the phototype era. They also pointed out the similarity to Rainbow Bass by Saul Bass.