Speedo sticker (no date)

In the 1990s, the logo of Australian swimwear brand Speedo used tightly spaced caps from Baker Signet. (Yes, that’s the same typeface as used in the old LDS Church logo.) It later made way for an all-lowercase wordmark with boxy oblique sans serif letterforms, while the boomerang was maintained.

1996 US print ad: “Speedo. The Dreams That Winners Are Made Of.”

Nightstand Books 1785, 1966. Dean Hudson was a pseudonym of Evan Hunter.

Cover design based on the painting Fall (1963) by Bridget Riley (thanks to Michael Mechthold-Jin). The title typeface is the Tonda Nera style of either Microgramma (1952) or Eurostile (1962).

The back repeats the front cover, mirrored.

Bruised Features is a book that arc studio published with Norwegian artist Stian Ådlandsvik. “The layout provides equal importance to the text and image. In this sense, the book reminds us of publications from the field of art history, such as John Berger’s Ways of Seeing.” — It’s Nice That

Suisse Int’l and Suisse Works are part of Suisse typeface, available from Swiss Typefaces.

With Reflections, Eatock explores the physical form of the book, by using photographs of reflections, which line of symmetry are aligned with the pages binding. The turning of the pages echoes and adds depth to the two dimensional plane of each photo. (ref. the pealing apart of ink blot paintings, Rorschach test cards). The reader is goaded to put stress on the intersection of pages, generating a morphologic change in the shape of the book & producing creases on the spine. — Possible Books

Suisse Int'l is part of the Suisse typeface, available from Swiss Typefaces.

New York: Ace Books, 1970. Book Club. 8vo. Illustration by Gary Viskupic.

Visible Language is a peer-reviewed design journal about visual communication published by the School of Design at the University of Cincinnati. The cover was designed by Gert Dumbar at Tel Design Associated, Den Haag, and uses only lowercase letters from Univers. This issue features articles investigating the photographic restoration of letterforms, to shapes as cues to word recognition.

This issue also features an interesting letter to the editor written by an unhappy Hermann Zapf, bewildered by the recent cover designs and claiming they are not “serious enough” for an scientific journal.

Letterform Archive’s collection of Visible Language spans almost two decades since the journal’s first publication in 1967.

Emil Ruder designed all the covers of the 1961 run of Typographische Monatsblätter with some variant of Univers, repeating this pattern by increasing and decreasing point sizes. This issue features Univers 48, the light (= 4) condensed italic (= 8) member of the numbered system. Letterform Archive has a nearly complete run of the Swiss typography journal in its periodical collection.

Gordon Alexander Craig’s Germany 1866–1945 was first published in hardback by the Oxford University Press in 1978. The paperback edition, pictured here, appeared in 1980.

As seen at jell-o biafra says.

Catalog and poster (below) for an exhibition in Utrecht, NL about Hungarian Constructivist art. Printed by Steendrukkerij de Jong & Co.

A book about the Pilobolus dance company with photographs by Tim Matson.

From the newly launched used book shop New Metaphor Books:

Produced to accompany a 2006 exhibition at the Architectural Association School in London, Manifesto For A Cinematic Architecture presents theorist Pascal Schoning’s dream of an architecture that transforms solid material into the appearance of energy and spatiality. Using light as its main building material, it aims to reach an ethereal state which will become real when energized by the people inside it.

A striking cover of tightly packed Block, but the interior seems not too reader friendly, set in a spindly version of Garamond with ill-advised ornamental ligatures that serve only to distract. The spacing on that anglerfish ‘st’ is especially perplexing.

From the newly launched New Metaphor Books:

Gazing into a crystal ball in 1971 — twenty-nine years ahead of the millennium — architectural thinker Charles Jencks published a provocative entry in Praeger’s Books that Matter series. Applying methods of forecasting developed in the scientific disciplines, Architecture 2000 explores predictions taken both from architectural forecasters and those in related fields.

An appropriate futuristic use of the obscure Westminster, perhaps the first typeface to alphabetize the MICR aesthetic. Its odd letter widths are owed to the fact that it is based on the proportions of Gill Sans. So British.

This is one of the funkier timelines I’ve seen.

André Mary – Anthologie poétique française – Moyen âge 1
Garnier-Flammarion 153, 1967
Couverture: Renart le goupil et Tibert le chat
Miniature extraite d’un manuscrit du Roman de Renart, 
Paris, B.N., Ms. fr. 1580, folio 93

See more covers from French publisher Garnier-Flammarion.

Traduit de l’arabe par Kasimirski
Garnier Flammarion 237, 1970
Couverture: Premier verset du Coran, édition de 1894 en caractères neskhis. Paris, B.N. Cabinet des Manuscrits orientaux, ms. arabe 418, f 3 v

See more covers from French publisher Garnier-Flammarion.

“Byte magazine was an American microcomputer magazine, influential in the late 1970s and throughout the 1980s because of its wide-ranging editorial coverage. … From 1975 through 1986 Byte covers usually featured the artwork of Robert Tinney. These covers made Byte visually unique. In 1987 Tinney's paintings were replaced by product photographs.” — Wikipedia

The original BYTE logo was set in Countdown. In the mid-1980s the mark was modified into a custom set of letters that were more blocky due to squaring off the circular counters.

See full issues of BYTE magazine on the Internet Archive.

Churchward Design is used for Berthold’s first oversized phototype compilation. This is the heaviest weight of the large Churchward Design family. It has not yet been digitized.