Scholastic, 1964.

From Wikipedia:

Clifford the Big Red Dog is an American children's book series about a giant red Vizsla named Clifford. It was first published in 1963 and was written by Norman Bridwell (1928–2014). The series helped establish Scholastic as a premier publishing company, and Clifford is Scholastic’s official mascot.

The early print runs of the books through the 1960s and 1970s used Cooper Black for “Clifford”, with an enlarged C and an elongated d. Akzidenz-Grotesk is used for “the big red dog”, and Futura for the author credit.

Print runs since the 1980s have used ITC American Typewriter for “Clifford”, and typically use either Egizio Bold or ITC American Typewriter for the “the big red dog”.

The original book saw many spinoffs and was translated into various languages. The series was adapted for TV and made into a feature film.

Scholastic, 1970.

Scholastic, 2005.

Unknown edition.

Unknown edition.

Board book edition, Cartwheel Books, 2016.

The vintage hardcover edition (Scholastic, 2016) revives the original design.

“He’s got a sword and two girlfriends” — @Coochiebone

Ad by the Lorillard Tobacco Company for the Newport brand of menthol cigarettes, featuring two very similar typefaces: Cooper Black for the big text at the top, and Goudy Heavyface for “After all, if smoking isn’t a pleasure, why bother?”. Both are used in unidentified swash italics versions. The former is similar to a phototype version named Cooper Black Italic Flair, but exhibits a number of differences. The latter isn’t identical with Goudy Fancy.

@CuteDogPics4 comments: “I can't look at something like this without imaging Don Draper coming up with it out of nowhere, drink in hand, after being mentally absent for a whole meeting”

Little Richard’s Grooviest 17 Original Hits! is a compilation album released by Specialty Records in 1968. The jacket design by Burt Andersen comes in a number of color variants, three of which are shown here. The tightly spaced Cooper Black is livened up by tittles in another color. As the numerals in this typeface are non-ligning, the 7 had to be moved up to prevent a crash with the line below.

[More info on Discogs]

In 2019, for the first time, we celebrated the International Day of Printing Art. The HBKsaar (University of Fine Arts in Saarbrücken) organized a small exhibition including workshops and lectures; kind of an open printshop, where you can exchange and learn about the art of printing.

The German title “hoch, tief, durch” (high, low, through) stands for three types of printing that we use in our workshops at HBKsaar: Hochdruck means relief printing, Tiefdruck means intaglio and Durchdruck is for screenprint/stencilprint.

The poster is printed on a mimeograph from 1967 in eight runs. Mimeography is a more or less extinct stencilprint technique and a predecessor of risography. Although the process is more complex, you can do things that the Riso cannot do, such as printing on folded paper, cardboard and textiles, or creating gradients.

Cooper Black and Superclarendon are great historic typefaces with roots in print, which is why it was not very difficult for us to choose these two.

Bob & Carol & Ted & Alice is a comedy movie about partner-swapping couples, and the 5th highest grossing film of 1969. It was directed by Paul Mazursky and stars Natalie Wood, Robert Culp, Elliott Gould, and Dyan Cannon. The soundtrack was composed by Quincy Jones and released on Bell Records.

The film’s primary promotional poster is entirely typographic, with a large rainbow-colored field of all-caps Cooper Black, repeating “Bob & Carol & Ted & Alice.” – 32 years before Experimental Jetset’s often-imitated John & Paul & Ringo & George t-shirt design.

Design for the soundtrack’s album art is credited to Farmlett, Barsanti & Associates, but it’s not clear if they’re also responsible for the primary poster, which doesn’t include any design credits.

Other posters for the film incorporate photographic imagery, other typefaces, different color schemes, and some funky spiral motifs.

Promotional posters for the SNCF (Société nationale des chemins de fer français / French National Railway Company) made by Salvador Dalí in 1970. On each poster, a region of France is depicted(?) in an image with butterflies – that's why this poster series is also known as “the Butterfly Suite”.

This poster was designed for the 1978 screening of Miloš Forman’s award-winning movie One Flew Over the Cuckoo’s Nest (1975) in Czechoslovakia. For the title, Jan Weber went back and forth between upright condensed and italic letters from Cooper Black, creating a nervous mix that perfectly captures the film’s atmosphere. This is further enforced by the repeated and blown up picture of the frantically grinning McMurphy. The diacritical marks appear to be custom creations, possibly made from other glyph parts. The smaller type mounted on a downward slope is in Universal Grotesk, a face that was ubiquitous in Czechoslovakia.

2. Exposition Mondiale de la Photographie. La Femme. Layout: Peter Jürgen Wilhelm. Gruner + Jahr, Hamburg, 1968

Constructing an annual editorial report for the Right Brain Initiative meant activating both sides of the brain. It takes some serious lifting from the left side to distill complex data into clear and compelling infographics, while playful hand-drawn, hand-cut elements and an energetic color palette come straight out of the right. The mix of editorial Tiempos, sturdy Trade Gothic and Cooper Bold may seem funky, but here it works.

Thundercat's 2017 release Drunk has a 1970s classic radio sound, with cover design inspired by 1974's The Original Soundtrack to Death Wish. (Titles for the soundtrack for Death Wish were, in fact, set in Windsor, Drunk's Cooper Black conveys a similar 1970s feel.) The cover revolves around a photo of Thundercat by Eddie Alcazar. Adam Stover did the layout for the album. Franklin Gothic is used for the song titles on the back cover.

The album art for De La Soul’s fourth full-length release Stakes Is High is typographically distinguished by the use of Cooper Black Italic (first issued in 1926) in all lowercase on a bouncing baseline, with the band name in outlined and overlapping letters.

Art direction: De La Soul, Michelle Williams. Design: Art Babe / MW [Discogs]
Hat tip to Bald Condensed!

CD jewel case back cover

Vinyl label

Cover art of a mixtape made by Chris Read in 2016 to celebrate the 20th anniversary of the album’s release, recreating the famous typography.

“Stakes still high” — fan T-shirt

International Polydor Production, 1966. Photography by Stan Wiezniak

[More info on Discogs]

Rare German album. Neil’s BANG recordings were distributed in that time through Metronome Records (like The McCoys too). Nearly all songs on this LP are pop milestones! At that time Neil was a real genius! Mostly 1966 & 67 Recordings.

This title uses Cooper Black Italic’s alternate swash caps, shown in this 1934 ATF catalog.

Hal Siegel’s jacket design for the first edition of Marshall McLuhan’s From Cliché to Archetype is an acute typographic interpretation of the book’s themes. With a progressive change in type styles, characters, spacing, and color, presents a literal transition from cliché to archetype.

The book without its jacket feels decidedly more flamboyant than the cover, imprinted with large initials set in Circus (minus a few usual flourishes from the upper half of the letters).

AIGA:

Steve Frykholm’s design career at Herman Miller began with a large ear of sweet corn—a curiously appropriate symbol, its rows of kernels forming an orderly grid and its roots originating in the watery, agrarian landscape of Western Michigan. Soon after arriving at the Zeeland-based furniture manufacturer, in 1970, Frykholm was asked to design a poster for the company picnic, named the Sweet Corn Festival. “I said I’d take a crack at it,” he recalls. Working with designer Phil Mitchell, Frykholm came up with a 29“ x 39” screen print of a pair of teeth clamped around an ear of corn, printed Pop Art-style in high-gloss inks.

Herman Miller:

Steve Frykholm joined Herman Miller in 1970 as the company’s first internal graphic designer. Two weeks into the job, he was asked by an executive to make a poster announcing the company’s annual employee picnic. In a moment of inspiration, Frykholm put an ear of corn in his mouth and asked a colleague to make a quick sketch.