Of Orc-Rags, Phials, & A Far Shore: Voices of Paradise in The Lord of the Rings by Bruce Palmer. T-K Graphics, Kansas City, Missouri, 1976. The title is in Book Jacket by Ursula Suess, used with various alternates, including two forms for n s A C L P R S. The price is added in Eurostile Bold.

These four pamphlets were issued by T-K Graphics between 1974 and 1977. The covers are printed in black on colored paper and feature typefaces that all seem to stem from the catalogs of VGC, ITC and Letraset.

Fanlore has a page about this publisher:

T-K Graphics was a distributor/retailer of pro books, but it is more well-known for publishing fan-created chapbooks and other amateur zines.

It was based in Baltimore, Maryland was founded in the early 1970s, perhaps earlier.

Via jell-o biafra says, a great (but sadly dormant) Tumblr for all things pulp, pop and underground.

The Drama of Ray Bradbury by Ben P. Indick. T-K Graphics, 1977. [More info on ISFDB] The title uses outlined caps from ITC Souvenir, with a timid swash initial. The author’s name is in Peignot, the price info in Book Jacket.

Middle Earth: A World in Conflict by Stephen O. Miller, with illustrations by James Shull. T-K Graphics, 1975. [More info on ISFDB] ITC Ronda is used in lowercase letters from the Bold, with alternates for a e r. The other fonts are Eurostile Light Extended, Grotesque No. 9 Italic, Windsor, and ITC Bolt.

An Arthurian Concordance by Dennis Lerond, with illustrations snagged from Aubrey Beardsley. T-K Graphics, Baltimore, 1974. [More info on ISFDB] Libra is paired with wide caps from Folio. The author’s name is added in Univers Condensed, the price info appears to be in Venus Extended.

From Goodreads:

In 1989, George Beahm’s Stephen King Companion appeared on the scene and became an instant hit with King fans. It was an orgy of King information, packed with interviews, essays, inside information, rare photographs, and tantalizing trivia. The “Companion” leaped onto the bestseller lists, was snapped up by the book clubs, and became known as an essential resource on King and his work.

Shown here is the first edition published in paperback by Andrews McMeel, Kansas City, 1989.

Choc is used for “The” while Letraset's Carlton is used for both “Companion” and the editor credit. However, it is the red, foil-stamped “Stephen King” that has the most interesting characteristics. The horror writer’s name is done in ITC Fat Face that is so tightly squeezed one might think it is LSC Condensed (aka Fatface Condensed.) The descender of P reaches down to touch the O in “Companion” while the descender of the G appears to suddenly shoot to the left, morphing into an underline.

Book design is credited to Edward King, and typography to Connell-Zeko Type & Graphics. The cover photo of King at the gates of his mansion is by Carroll Hall, courtesy of the Bangor Daily News.

A less compact setting of “Stephen King” appears on the spine.

Emily Reinhardt is a ceramic artist and designer whose work focuses on beautiful, functional ceramic objects for the home. In her studio in the Crossroads Arts district of Kansas City, Missouri, Emily designs and builds by hand a variety of one-of-a-kind objects, including plates, vases, wall hangings, tumblers, mugs, goblets, and trays. Her modern, unfussy aesthetic features perfectly imperfect shapes and stunning surface design techniques, such as striking glazes, touches of gold luster, bold patterns, texture, and raised effects.

Emily founded The Object Enthusiast in 2011 and continues to grow a loyal community of customers and students, teaching classes online through Skillshare as well as in-person at her studio.

The identity is designed by Missouri based designer Alex Skorija. Bastardo Grotesk is used for the logo, the manufacturer’s stamp, business cards and more. On the website, it’s paired with Neue Haas Unica.

This retro-style enamel keychain was designed by Kansas City-based So So Studio, run by artist Marie Jones who pays homage to all things vintage. Typeset in Lone Pine by Hoodzpah.

The Record Machine is a homegrown pioneering independent record label based in Kansas City, Missouri, founded in 2003. In their visual identity, they have been using various logo variants, all of which feature a reel as known from audio tape recording as the central element. The most iconic one shown here uses Cintra (2014) by Graviton for the name.

The logo as used on the label’s Soundcloud page.

This dinner playhouse opened in 1971 on 5028 Main in Kansas City, Missouri. The logo is likely lettering based on Jeannette or something similar.

Pixelnation is an agency for digital strategy, design & development in Kansas City, MO.

From Wikipedia:

The National World War I Museum and Memorial of the United States is located in Kansas City, Missouri. Opened to the public as the Liberty Memorial museum in 1926, it was designated in 2004 by the United States Congress as America's official museum dedicated to World War I.

The award-winning exhibition was designed by Ralph Appelbaum Associates in 2006. See more images on their website.

In February 2017, the museum introduced a new logo. “Titled ‘Intersections,’ [it] features nine intersecting lines that conjure a ‘tangle’ of images related to the war: barbed wire, railroad tracks, factories, beams of broken homes, the chaos of war. The logo [was] designed for free by St. Louis-based advertising agency Rodgers Townsend.” — The Kansas City Star

A comprehensive rebrand for a start-up striving to redefine car sales by getting cars off the lot without the hassle of an auction. The wordmark set in FF Mark quite literally shows what they do while still evoking the approachability and simplicity of the company.

Over the past year, the National Museum of Toys and Miniatures in Kansas City, Missouri (NOT Kansas) has renovated its building, its displays, and its branding. 'Toys' ≠ 'Miniatures', so Design Ranch, also of Kansas City, emphasizes the differences between them with two typefaces and two colors.

1972–75

Before they moved to Sacramento, the NBA’s Kings franchise was based in Kansas City, Missouri, initially splitting their games between Kansas City and Omaha, Nebraska. Here is their 1972 logo as it appears in the compilation book World of Logotypes.

The type is Sphinx, a 1920s French fat face with disctinctively large triangular serifs that echo the shape of the crown. The type around the basketball was altered to fit the curve, but not very effectively as the spacing is quite uneven.

1975–85

Pennant from the 1973/74 season. The large “Kings” is likely lettering.

Other than the logo (made with Gotham), everything on this handsome and readable app review site is set in Whitney webfonts.

The Bloch addition to the Nelson-Atkins Museum of Art in Kansas City, MO — entrance to parking garage.