Four years after Classics for Pleasure reissued a recording of The Planets by the BBC Symphony Orchestra, the budget label released an album with another interpretation of Gustav Holst’s suite by a British orchestra, this time by the Hallé from Manchester, with conductor James Loughran (1931–2024).

The single-stroke display typeface chosen by cover designer Tony Baldwin is Eggomania, a Face Photosetting original created by his namesake Tony Yates. It’s supported by Serie II of Weiß-Initialen, with both its forms for E and the G as found in its later incarnation, Weiß-Lapidar.

[More info on Discogs]

Founded in 1968 in San Francisco, The North Face is an American outdoor recreation products company producing outdoor clothing, footwear, and related equipment. Their catalog for 1974–1975 uses Bullion Shadow.

Bullio was designed by Tony Geddes and issued by Face Photosetting in three all-caps styles. The Shadow style was adopted by Letraset by 1971. As their dry transfer sheets didn’t include proper hyphens or dashes, the designer repurposed a diaeresis (¨), of which there were plenty. Alternatively, they could have used a rotated pipe (|), but that would have been rather wide and also exhibited a different shadow direction.

A sheet of 60pt Bullion Shaded as issued in Letraset’s Letragraphica range as LG 518

Two bold rounded sans serifs that both originated in London around the same time, used together on a typographic sleeve for a single by the Barron Knights.

The name of the humorous pop rock group is shown in a two-color setting of Pluto Outline, additionally enhanced with a drop shadow effect. Pluto originated as a film typeface at Face Photosetting in 1969–1970. The four-style family also included a solid variant. However, the Outline style was the only one to be adopted by Letraset for dry transfer lettering (in 1972). It thus became more widespread.

The song names are added in Frankfurter, a similar “sausage” typeface that was designed by Bob Newman and issued as a Letraset original in 1970. In 1978, Letraset added Frankfurter Highlight.

[More info on Discogs]

These cookbooks by TV chefs Max Inzinger and Gerda Aurich were created with children for children. Two volumes, one about baking and one about salads, were published by Ceres Verlag, Bielefeld, in 1979.

Braun-Design used Pluto Outline, tightly spaced and as large as possible, filled with two shades of brown and green, respectively. Pluto Outline originated at Face Photosetting in London in 1969 and found wider distribution when it was adopted by Letraset. The author names as well as the interior are set in italics from another 1970s staple, ITC Souvenir by Ed Benguiat.

Released in 1977 by RCA Special Products, this triple LP compilation features songs by Neil Sedaka, Del Shannon, Paul Anka, Sam Cooke, Dion DiMucci, Jimmie Rodgers, Jimmy Clanton, Bobby Vinton, Tommy James & The Shondells, Conway Twitty, and Fabian.

The cover design uses Pluto in tightly spaced caps, with a two-color fill.

[More info on Discogs]

Secondary information on the Munich poster is set in Helvetica schmalhalbfett. This concert didn’t take place at the mentioned location, but was moved to the Sporthalle in Böblingen.

Alpine Black is an obese display face that originated at Photoscript in London about 1970. In 1972, it was reproduced in the fourth volume of the Swiss Lettera alphabet book series, making it more widely available.

The same year, Eri Foerster used it for a series of concert posters by Pink Floyd. Printed in black, they advertised shows played in Germany, organized by Mama Concerts.

The band photograph by Storm Thorgerson and Aubrey Powell of Hipgnosis featured previously on the gatefold of the 1971 album Meddle.

In addition to the posters shown here, the series also includes similar ones for Hamburg (November 12), Düsseldorf (Nov. 14), Böblingen (Nov. 15), Frankfurt (Nov. 16 and 17), all of which can be seen at The Pink Floyd Archives. The poster design with Alpine Black was referenced for the cover of a bootleg recording of the show in Böblingen.

The show in Berlin’s Deutschlandhalle took place half a year before the others, on May 18. Secondary information is here set in Kabel [or rather Monotype close copy, Sans Serif, see comments].

The Good Food Guide was first compiled by Raymond Postgate in 1951, and is “about empowering diners, helping readers to find the very best places to eat and encouraging restaurants to offer the best possible food, service and experience.” [Wikipedia]

The cover of the 1972 edition is adorned by a chromatic use of Stack. The aptly named display typeface was designed in 1969 by British designer Les Lawrence (b. 1945). Stack was initially released with Face Photosetting in London. Oher type providers soon adopted it, including by Photo-Lettering in New York and three manufacturers of dry transfer lettering, Letraset in England, Mecanorma in France, and Chartpak in the USA.

The guide was published by the Consumers’ Association, best known for their flagship publication Which? According to Paul Harpin in Eye magazine, “from 1964 to 1988 the title and its spin-offs were designed by Banks & Miles”. In his 2002 obituary for Colin Banks, James Alexander mentions the studio worked on Which? magazine and other CA magazines from 1964 until as late as 1993. Chances are Banks and Miles take credit for this typographic cover as well.

See also the cover for the previous edition, kindly contributed by James Alexander.

Book jacket for a German-language edition of Quo Vadis: A Narrative of the Time of Nero, a historical novel written by Henryk Sienkiewicz (1846–1916) and originally published in Polish in 1895/1896. Translated by Hertha Lorenz (1916–1989), it was published by Neuer Kaiser Verlag in Vienna in 1978.

Jacket designer Volkmar Reiter chose a photo of a Roman stone relief found on the outer wall of the Church of Our Lady in Maria Saal in Carinthia, Austria. He used Stack and Futura for the typography.

Sleeve for the Hungarian release on Pepita, licensed through EMI. Design by János Flohr (b. 1950). From Budapest Poster Gallery:

Flohr is a graphic designer, who worked in many fields of graphic design. He studied in the 1970s under Sándor Ernyei and József Finta. Initially he worked in the Kossuth Printing House’s reproduction workshop, but he soon got work as a graphic artist. He often designed posters and other type of advertisements for Hungaroton, Hungexpo, Magyar Hirdető and Medicor. He preferred to use photos on his compositions.

Kieselbach adds that he won the Best Poster of the Year award in 1983, and that he also worked on stamps and exhibition graphics.

In 1973, amidst his studies at the Budapest College of Applied Arts, Flohr designed this single sleeve for an early single by Wizzard. The English glam rock band was formed by Roy Wood, co-founder of the Electric Light Orchestra, in 1972. The typefaces originated in England, too: the aptly named Block is the creation of John Gorham (1937–2001). It here features in a multicolor application. The monolinear rounded sans used for the catalog number and “Stereo-Mono” is Michael Chave’s Pipeline. Both were issued by Face Photosetting in London in the early 1970s. The Pepita name is shown in Colin Brignall’s Countdown (Letraset, 1965).

[More info on Discogs]

This classical music album was released in 1978 by Columbia Odyssey. It features three musical pieces by various composers, performed by pianist Gary Graffman (b. 1928): Sonata No. 4 by Benjamin Lees, Suite, Op. 14 by Béla Bartók, and Sonata No. 2 in D Minor, Op. 14 by Sergei Prokofiev.

The striped typeface is Karl Hermann Schaefer’s Fatima, originally released in 1933 and effectively serving as a more decorative counterpart to Schriftguss’s earlier Capitol by the same designer. Accompanying it is the ultralight Gershwin, released in 1968 as a Face Photosetting original. The back of the album possesses a third art deco-inspired typeface: Vladimir Andrich’s Slenderella Refined, which looks like ITC Kabel from a distance if it weren’t for a few key differences in the glyphs.

[More info on Discogs]

First U.S. edition, Vol. 1, Praeger, New York, 1973

The Operas of Verdi is the magnus opus of British opera scholar, radio producer and broadcaster Julian Budden (1924–2007). It was published in three volumes in 1973, 1978, and 1981; first by Cassell & Company Ltd., London, and by Praeger Publishers, Inc., New York. It was also published in 1978 by Oxford University Press, New York, who in 1984 were the first to issue the series in paperback.

The books feature a version of Arnold Böcklin that’s clearly bolder than usual. This style wasn’t part of the original design as issued by the Weisert foundry in 1904. Named Arnold Bold, it was added at Face Photosetting, a type provider from London that later also went under the name Face Ronchetti.

The jacket designs for the first edition are credited to Tony Geddes. Like Budden, Geddes worked for the BBC where he created program titles and support graphics. On Fonts In Use, he’s best known as the designer of typefaces like Bullion, Milton, and Flamenco Inline. Some of these were available from Face, so it seems likely that Arnold Bold was drawn by Geddes himself. Take note that this isn’t confirmed.

Glyph sets for Arnold Bocklin [sic!] and Arnold Bold as shown in an undated (c.1981) catalog by Face

First British edition by Cassell, 1973–1981: Vol. 1. From Oberto to Rigoletto; Vol. 2. From Il Trovatore to La Forza del Destino; Vol. 3. From Don Carlos to Falstaff

Vol. 3, Oxford University Press, 1978. Note how the I in “Verdi” lost a bit of its hook – unlike the one in “Julian”.

First paperback edition, Oxford University Press, New York, 1984

The Science Fiction Hall of Fame, Volume Two is an anthology edited by Ben Bova (1932–2020) and first published in the U.S. by Doubleday in 1973 in two volumes titled “Two A” and “Two B”. In 1975, British publisher Sphere Books issued ten of the twenty-two novellas in a series of three paperbacks.

The illustrations by Eddie Jones wrap around to the back cover. All-caps Zipper is paired with Bullion. Both faces were released in 1970. While Bob Newman’s Zipper is a Letraset original, Bullion was drawn by Tony Geddes for Face Photosetting. The shaded style, Bullion Shadow, was eventually also produced by Letraset and consequently saw a lot of use, but the Solid style seen here was exclusive to the phototype provider from London.

Science Fiction Hall of Fame: The Novellas, Book 1 [More info on ISFDB]

Science Fiction Hall of Fame: The Novellas, Book 2 [More info on ISFDB]

Science Fiction Hall of Fame: The Novellas, Book 3 [More info on ISFDB]

From Wikipedia:

The Roaring Silence is the seventh studio album by English rock band Manfred Mann’s Earth Band. It was released on 27 August 1976, by Bronze Records in the UK and by Warner Bros. Records in the US.

The cover was designed by Shirtsleeve Studio, using Marvin with recessed letterforms and EndcapS. The giant ear with an open mouth inside it was modelled by artist Derek Goldsmith.

[More info on Discogs]

I admit to not being very excited by the rather plain white-on-blue jacket design for one of the autobiographical works of Simone de Beauvoir, but I am a sucker for the sculptural Stack. Considered on its own terms, I think the two stacked words of “OLD AGE” typeset in Stack work very well, but it seems a bit out of place for de Beauvoir.

The high-contrast and tightly spaced Modern No. 20 reminds me of some of the Didion jackets from the 1970s.

This edition was translated by Patrick O’Brian and published by André Deutsch and Weidenfeld and Nicolson.

Banner and titles for UK music television show The Old Grey Whistle Test which ran from 1971 to 1988 on the BBC. According to presenter Bob Harris, the programme derived its name from a Tin Pan Alley phrase from years before.

The banner evolved between 1971 and 1975, including white and yellow versions, and initially using Pipeline in mixed case, before settling on the familiar typeface, which would be used until mid-1982. This design, using ITC Busorama in uppercase, is arguably the most enduring and recognisable.

More reading on Pink for your actual Pterodactyl.

Banner from December 1974, in Pipeline

Two versions of the title. The one on the left already uses ITC Busorama, but with its alternate unicase forms for E and R, as well as with rounded terminals – apparently to resemble Pipeline.

Title card with production credits from 1975, ft. Busorama with two forms for A

Cover for a compilation album released in 1975 on Super Beeb Records. Sleeve design by Andrew Prewett, Starkicker illustration by Roger Ferrin. [More info on Discogs]

A brochure issued by British Rail’s Rail Freight division that looks at the wide range of freight wagons available along with discussing the manufacturers of them along with the relative merits of leasing and hiring. It also notes that other incentives to using such rail wagons existed including the Industry Act of 1972 and the ‘Assisted Areas’ for which grants and loans existed.

The booklet was produced in conjunction with the West of England Rail Freight Division and produced by the Publicity Department of the Western Region.

A striking jacket design with a provocative question, set with one word per line and featuring Marvin’s seldomly seen question mark.

From the publisher’s description:

This book is based on the famous experiments conducted by Yale psychologist Stanley Milgram, which concluded that given an adjusted, controlled environment, most of us will act in a manner at total odds with our normal behavior patterns. Dr. Hans Askenasy agrees with these findings, and presents, with compelling logic and scholarship, a most disquieting view: that the Nazis who carried out the murder of six million Jews were neither sadists, madmen or monsters. Most of us would like to think they were, for then the responsibility for the atrocities they committed could be placed upon a special class of criminals or lunatics essentially different from the rest of us. Auschwitz could not, we like to believe, have happened here – yet it is psychologically easy to ignore responsibility when one is only an intermediate link in a chain of evil. The author concludes that the main cause of large-scale destructiveness is not individual criminality, but social abnormality – a collective madness which we do not fully understand and with which we have not yet come to terms.

Hans Askenasy was born in Frankfurt in 1930 and emigrated to the United States in 1949. The psychologist wrote several books about the Holocaust. Are We All Nazis? was published by Lyle Stuart Inc. in 1978.

From the inner flaps:

Everyone knows that Hitler had plans for the invasion of Britain. Few Americans know that Nazi troops actually landed on British soil. Still fewer can imagine the details of invasion, defeat, and occupation.

Here Norman Longmate, author of sixteen books, asks the novelist’s ultimate question: What if – and bases the answer on known fact. The result is an exciting – indeed frightening – vision, as the Nazis break through British defenses, an underground develops, hostages are shot, Jews are rounded up, and the leader of Britain’s fascists, Sir Oswald Mosley, is asked to cooperate with the occupying forces. What would have happened to the King, to the Government? What would America have done? Would Canada and Australia have been able to were to the rescue? Would the British people have come to accept the occupation – even feel hostile toward the resistance fighters? Would the deportation of friends, the flying of the swastika from Buckingham Palace incite docility or been resistance?

The bestselling novel Vandenberg by Oliver Lange showed how Americans reacted to a Soviet occupation of the United States. Now If Britain Had Fallen does the same for a country that actually did teeter on the brink of defeat.

If Britain Had Fallen will be shown as a three-part television series in the United States.

Norman Longmate (1925–2016) was an English author and historian. This book of his was published in the UK by BBC Publications and Hutchinson, and subsequently in the United States by Stein and Day.

[More info on ISFDB]

Jacket cover and spine

From Wikipedia:

Carrie is a 1974 horror novel by American author Stephen King. Set in Chamberlain, Maine, the plot revolves around Carrie White, a friendless, bullied high-school girl from an abusive religious household who discovers she has telekinetic powers.

Book jacket for the first UK edition published by New English Library in 1974. The novel’s title and author’s name on the jacket and title page are set in Bullion, with minor changes made to the G and R. Text on the flaps looks like it might be set in Univers. For the gilt lettering on the spine of the purple cloth hardcover, the author's name is set in ITC Avant Garde Gothic.

Designer/s unidentified. Jacket illustration by Ray Feibush.

[More info on ISFDB]

Full view of dust jacket

Gilt lettering on spine of purple cloth hardcover

Title page

Uni Paint Marker is a product line of marker pens by the Uni-ball brand, launched by the Japanese Mitsubishi Pencil Company in 1980. The Uni Paint Marker logo shows the rather surprising choice of the 1970s typeface Bullion. The “uni” part seems to have its own unique letters, at least I have not found any typeface that could exactly match (see also the longer version of the uni-ball logo below). “MARKER” is added in Helvetica. The pens themselves additionally use a number of other typefaces which are not listed here.

Uni Paint logo

Uni-ball logo