First American edition of The Bridge in the Jungle by B. Traven. The story was originally serialized in the German daily Vorwärts in 1927 and published in an extended book form in 1929, as Die Brücke im Dschungel. From Wikipedia:

In the novel, Traven first dealt in detail with the question of the First Nations in South and North America and the conflicting values and traditions between white settler cultures and indigenous cultures throughout the Americas; these themes detailing the problems of colonization dominated the Jungle Novels published in the 1930s.

All text on the dust jacket is drawn by hand. While the script is entirely custom, the bold caps represent an example of lettering derived from a typeface: it’s based on Cartoon Bold a.k.a. Fresko fett. Howard A. Trafton’s design was issued by the Bauer foundry just two years before, in 1936.

First published by Faber & Faber in 1967 as An Age, this science fiction novel by English writer Brian W. Aldiss was renamed Cryptozoic! for the first U.S. edition by Doubleday in 1968. A year later, Avon brought out the first paperback edition, with cover art by Don Punchatz. A second printing, still with Thorowgood Sans Shaded for the type but with different cover art, followed in 1972. Shown here is the third printing from 1977.

This time the display typeface is Sintex, designed by Aldo Novarese and issued by VGC around 1970. To be more precise, it isn’t the original Sintex, but a copy that added a large number of alternates. One of the added extra glyphs is the S in the author’s name. It looks too heavy and out of place, certainly next to the lighter “ALDI”. The extended copy of Sintex appears under the name Hopfen in catalogs by Castcraft (1978) and FotoStar (after 1981). Already in 1974, Formatt offered a version for dry-transfer lettering named Keyhole. It has the same alternates as Hopfen, but is distinguised by scaled-down lowercase glyphs. I don’t know which came first, Hopfen or Keyhole.

The second line with the title is stretched.

The cover illustration is credited to Don Ivan Punchatz on the copyright page. According to ISFDB, “[t]his art differs from the Punchatz-credited art of the first printing. It’s possible that the publisher failed to update the cover art credit for this printing. There is speculation that it might be the work of Dean Ellis.”

The back cover features another alternate from Hopfen a.k.a. Keyhole: the top-heavy D isn’t part of the original Sintex.

Front panel of jacket

From Wikipedia:

Where the Wild Things Are is a 1963 children's picture book written and illustrated by American writer and illustrator Maurice Sendak, originally published in hardcover by Harper & Row. The book has been adapted into other media several times, including an animated short film in 1973 (with an updated version in 1988); a 1980 opera; and a live-action 2009 feature-film adaptation. The book had sold over 19 million copies worldwide as of 2009, with 10 million of those being in the United States.

Jacket and cover, featuring illustrations by Sendak, with type set in Safari. Spine of the jacket is set in Helvetica and text on flaps looks to be set in Trade Gothic with the $3.50 price set in Futura. Text from interior title page and story set in Cheltenham.

Full view of jacket

Front flap and illustrated pastedown

Front panel of hardcover

Interior title page

From Wikipedia:

Raiders of the Lost Ark is a 1981 American action-adventure film directed by Steven Spielberg and written by Lawrence Kasdan, based on a story by George Lucas and Philip Kaufman. Set in 1936, the film stars Harrison Ford as Indiana Jones, a globetrotting archaeologist vying with Nazi German forces to recover the long-lost Ark of the Covenant which is said to make an army invincible. Teaming up with his tough former romantic interest Marion Ravenwood (Karen Allen), Jones races to stop rival archaeologist Dr. René Belloq (Paul Freeman) from guiding the Nazis to the Ark and its power.

The opening credits pair Open Kapitalen with Eurostile. Eurostile Extended is used for "of the Lost Ark" and "South America, 1936," whereas other credits use the Regular, optically stetched to around 150% its original width to give the impression of the Extended. The map, seen during location transitions, features Legende (with alternates) and ITC Serif Gothic, with both set in all caps. The end credits are set in Friz Quadrata.

Titles by MGM Title Department, credited as MGM Titles.

See also the title sequences for Indiana Jones and the Temple of Doom and Indiana Jones and the Last Crusade.

Brand identity, product packaging design and illustration for popular YouTube influencer Hyram Yarbro’s skincare line Selfless by Hyram presented by the established brand The Inkey List. Every Selfless product purchase supports providing clean drinking water or protects tropical forests and is available in 29 countries at Sephora.

The brand identity’s combination of a slight medicinal feel with playful imagery portray what Hyram is representing – trusted information about skincare and having fun with it. The logo design was created in collaboration with Heather Brown (Head of Design at the Inkey List).

All packaging illustrations form one continuous landscape when lined up next to each other. They also perpetually wrap around each carton. The lush jungle landscapes hint at Selfless’ contribution to the Rainforest Trust. They show the natural diversity of tropical forests on the products that help prevent deforestation. Some of the products have a water-focused theme. They are supporting the Thirst Project, an organisation that helps solving the global water crisis.

The typeface Aspen by LudwigType is used in a straightforward way that provides a clean feel underlining the products' science backed formulation.

Design & Illustration: Philipp Zurmöhle at Transatlantika
Head of Design at The Inkey List: Heather Brown

Maria ‘Mucha’ Ihnatowicz is a Polish poster designer, illustrator and graphic artist. Born in 1937 in Brześć, she studied at the Academy of Fine Arts in Warsaw in the class of Henryk Tomaszewski.

In 1981, Ihnatowicz designed the poster for Wielka Majówka (The Big Picnic), a comedy directed by Krzysztof Rogulski. For the title, integrated into the rainbow, she used Domino (Mecanorma, 1972). Apparently it was technically easier – or aesthetically more appropriate – to draw the letters by hand than to make direct use of the dry transfer typeface by enlarging it photographically. While most letterforms closely follow the original design by J.C. and M. Demarchi, with small adjustments to the weight and width, Ó got a custom Pac-Man-like kreska accent, and K a new, much plainer design. Maybe Ihnatowicz didn’t like the look of this glyph, or it wasn’t included in the template she was working from.

Most of the small print is in Hermes-Grotesk, which was a common choice in Polish poster design and also known as Blok, and two widths of Univers.

See more of Maria Ihnatowicz’s poster designs at Projekt 26 and Polish Poster Gallery.

Album cover for Basil Kirchin’s Worlds Within Worlds LP on Columbia Records. The typeface is Goudy Ornate aka Ornate Title. It was originally designed in 1931 by Frederic Goudy for Lanston Monotype in capitals only.

Design by Jill Oxley, the same designer also credited for the Cosmic Eye cover from a year later. It looks like she was also a production and set designer on several British TV shows in the 70s and 80s as well – if it’s the same person.

Wild And Peaceful (1973) was the fourth album by the American funk band Kool & the Gang, and their commercial breakthrough album. The record contains a few hits including “Jungle Boogie”, which became very popular in nightclubs; it was also used as a musical background in the opening titles of Pulp Fiction some twenty years after its release.

“Jungle Boogie” is just so awesome! Funkiest song ever recorded in my opinion, sorry James, Sly, Parliament, and whoever else, but Kool & the Gang has it. Everything about it is shear perfection. (...) I played this for a girl I was dating one time and she said she'd never heard the song before. Needless to say, that relationship didn't last long. — Dick_B1, rateyourmusic.com

The band name and the album title are set on a curve with Benguiat Downsie (Photo-Lettering, Inc., ca. 1971). A reversed contrast display type, with a design similar to Gothic Bold (1899) and Zipper (1970) but made in four differently shaded versions. For this album, Richard Askew used variant “C”, with a solid shade, and combined it with art by Joseph Askew. The back cover uses Univers, and the text on the stickers is set with Frankfurter.