I've just found this magazine from Peru in Budapest, only God knows why.

Textual is the journal of the Peruvian National Institute of Culture. Concerned with literature, humanities, and arts, it was published between 1971 and 1975. CEDOC (Centro de Documentación de la Biblioteca Central UNMSM) has digitizations of all ten issues. The logo is based on Amelia, in lowercase letters and with filled-in counters.

Number 9 is dedicated to philosopher, educator and journalist Augusto Salazar Bondy (1925–1974). Display typefaces used in this issue include Michel, Thalia, and Ludlow Garamond. Body text is set in Helvetica and Permanent, with drop caps from Neo Script.

Thalia with enlarged and descending caps

Colophon (left) and a black-and-white version of Salazar Bondy’s portrait as seen on the cover (right)

All-caps Michel and Thalia in mixed case

More Michel caps combined with pre-Columbian symbols

Text in Helvetica is printed on top of the title in reversed caps from Michel

A mix of caps and lowercase letters from Thalia for “Educación”

This creature apparently is a raptorial bird as depicted by members of the Chavín culture

Spread with drop caps from Neo Script

Detail from the colophon, with text set in two weights of Permanent

Rotated Ludlow Garamond for “Bibliografía”

This is the second and last studio album by the Japanese fusion band Space Circus. Tsunehisa Kimura created the artwork cover for the front and back, which is titled Divine Retribution and Earth Fantasy. Both artworks are currently in the collection of the Tokyo Photographic Art Museum.

The album title is set in an extra compressed variant of Helvetica Compressed [edit: or rather Schmalfette Grotesk, see comments], while the band's name is set in Neo Script.

The track titles on the back cover are set in a bold weight of Futura, while the track numbers, song credits, and staff credits are set in Optima. The Japanese sans serif typeface on the bottom left and the serif typeface on the bottom right are Ishii Gothic (石井ゴシック) and Ishii Mincho (石井明朝).

[More info on Discogs]

All-caps Domino (Mecanorma, 1972) in use for the sleeve of a country pop single by the Bellamy Brothers. This Portuguese release was designed by the prolific Gráficos Reunidos. Somehow they forgot that yellow on white doesn’t yield the best contrast. And without clearly defined counters and notches, the display face by J.C. and M. Demarchi forfeits the last vestige of legibility. Domino looks much better on the back where it’s printed in yellow and black.

[More info on Discogs]

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.

Prophetic Soul (1974), front cover. [More info on Discogs]

In the 1970s, Ted Scotto aka Yan Tregger released two disco albums under the name Major Symphony. From BBE Records:

Born in Algeria to French parents of Italian origin, Edouard Joseph Scotto Di Suoccio released a number of chanson singles in the late sixties as Ted Scotto. He began making music under the name Yan Tregger with the easy listening meets jazz funk LP Freezing Point in 1974. Only the deepest of jazz funk diggers would know his killer LP from the same year Schifters recorded with Jacky Giordano for the small Freesound label. During this period he was working for the prolific French library music label L’Illustration Musicale, recording the psych tinged The Pop World of Yan Tregger under the name The Yan Tregger Group. But it was under the moniker Major Symphony that Scotto Di Suoccio first fired up the dancefloors of clubs like Le Palace in Paris. Recorded for the Philips label in 1974/76 Prophetic Soul and Odyssea have become much sought after amongst fans of the headier more psychedelic end of disco.

The cover artwork for both albums was provided by Jacques Wyrs. Born in Berlin in 1938 to a family of Russian origin, Wyrs developed an interest in drawing very early on. At the age of 16, he wanted to enroll in the Academy of Fine Arts Karlsruhe, against the will of his parents. After he had shown his work to Karl Hubbuch, Wyrs was made the academy’s youngest student in a hundred years. He moved to Paris in 1957 where he opened his gallery in 1977. His Surrealist works adorn the covers of many science-fiction books and album records issued in the 1970s. In an interview conducted in 1985, Wyrs says he’s “not interested in the present. I live in it. What’s exciting is the future. I dream. It gets a little metaphysical.” While he participated in science fiction congresses and won a first prize at the World Science Fiction Convention in 1971, he claims to “hate the term ‘science fiction’. It is terribly overused. […] Today, science fiction lacks poetry; it has become ‘political-fiction’.” The artist died prematurely in 1988.

The uncredited cover typography features two display faces issued by Mecanorma for dry transfer lettering: On Prophetic Soul, “Major Symphony” is shown in Domino (J.C. & M. Demarchi, 1972). The album title is set in Futura Light (front) and Folio Medium Extended (back). For the follow-up, the project name is presented in the Dropshadow Condensed style of Bronx. Designed by Belgian graphic artist Michel Waxmann, Bronx was first issued by Hollenstein for phototypesetting around 1973. Two shaded styles were added to Mecanorma’s range in 1975, but disappeared from their catalogs again after only a few years. “Odyssea” is set in Churchward Design, or probably Mecanorma’s adaptation named Churchward Galaxy, with straight quote marks. The track list for both albums uses Univers.

Prophetic Soul (1974), back cover.

Odyssea (1976) front cover. [More info on Discogs]

Odyssea (1976) back cover.

A typeface designed by a French (?) family duo used for an album recorded by an Italian family duo: Domino (J.C. Demarchi & M. Demarchi), released by Mecanorma in 1972, serves for the monochrome cover of Clouds (Lino Castiglione & Pasquale Castiglione), released on Octopus Records ‎(OTP 0293) in 1975.

Via What Is Wrong With Grooving:

The slightly African influenced and extraordinary grooving flute tune “Games” is my long time favorite on this lovely Italian Library album. […] There was also a reissue, released 2016 on Spettro (SP/L04) records. Also from Italy but comes with a different cover artwork.

[More info on Discogs]

While the clouds on the front cover are rather dark, they have cleared up on the back.

Discogs lists over 200 albums for prolific Italian singer Nicola Di Bari. Most were released by RCA or their subsidiaries in the 1960s–1980s, and almost all feature rub-down lettering from Mecanorma, the French Letraset competitor whose type was common in France, Italy, the Netherlands, and Spain. (Thanks for the heads up, Sasha Tochilovsky!)

This album of Spanish-language recordings ties a cute little ribbon around Neo Script, a Mecanorma original by J.C. and M. Demarchi (of France). I have yet to find any information on the Demarchis. Insight is welcome.

For the small “en español” the uncredited designer used ITC Avant Garde Gothic with the alternate, angled ‘e’.

A good use of Mecanorma’s Domino, turning its circular O into the center of a target, with the counter as bull’s eye.

Take One is an album with big-band jazz recorded by the Jersey City State Jazz Ensemble, directed by Dick Lowenthal. It was issued in 1975 by Music Minus One, an educational label specializing in “play-along albums intended to accompany a melodic instrument (or vocalist) as an aid for practicing.” Shown above is the standard release with green display type. The Drummer version shown below has purple type. There are versions for Tenor Sax (pink), Pianist (orange), Trumpet, and Bassist.

The photo is by the S.D. Warren Paper Company. No designer is credited.

[More info on Discogs]

Neo Script, Astral, and Blippo Black in all caps on the sleeve of a French 7″ single. “Why Can’t We Live Together” appears to be the only release by the Synthetic Cha Cha Band.

The design may not be the most inventive one, and the combination of styles seems haphazard (I get that Neo Script for “Synthetic“ was chosen in reference to electronic circuits). But doesn’t Astral lift your spirits? See Michel Jarland’s pictorial caps in another chromatic use for a single from the following year. There, even the rising sun got an extra color.

All three typefaces were available for dry-transfer lettering from Mecanorma. The former two were Mecanorma originals, and had been released just shortly before, in 1972 or 1973. They probably were sourced from the manufacturer’s permanent contest, which spawned a whopping 27 new faces between March 1972 and May 1973, according to Dutch trade journal Kontekst.

[More info on Discogs]

Dutch cover of the 1973 single “Smokin’ In The Boy’s Room” by Brownsville Station, with B-side “Barefootin’”. The original artwork shown above uses Domino on top of a photograph. According to record collector Klaus Hiltscher, nobody could really decipher the text set in this outlined flash-in-the-pan face by Mecanorma, so soon after a second version with filled letters was produced, see below.

NG Records and Early Sounds recordings, are proud to announce the first volume of “Napoli Segreta”, a compilation of the rarest and invisible compositions of the 70’s and 80’s Neapolitan disco and funk scene.

For this project we opened the old chest of our photos, finding the perfect wrong one for the beautiful cover designed by Riccardo Corda and some other very good for presenting the whole work. Not last, we had again more fun in designing a special gift included in the LP, and some other cool goodies. Dopolavoro

The artwork for the first – and so far only – volume of Napoli Segreta (“Secret Napels”) is not shy of nodding to the 1970s/1980s. From the faded generic cover image and deliberately “simple” layout where everything is framed in boxes with rounded corners, to the typography that uses three typefaces from around 1970: it shows that the designer(s) had a lot of fun.

“Napoli Segreta” is set with Domino, a design by two (brothers or sisters?) Demarchi. The design was a winner in a Mecanorma typeface design contest in 1972. Domino came in a solid and an outline version. [Domino was likely issued only in an outline verion, see comments]. The subtitle uses outlined Blippo (1969), a sturdier typeface from the same genre. To top things off, the album was launched with a limited edition soft drink with a variation on the cover typography, paired with a moustached Italian stallion and a line using Busorama (1970): “La vecchia camomilla ha dato il posto a...”.

“The Force” (Part 1 & 2) — German sleeve featuring Stack (incl. a simplified inline variant for the band name) and Flash Bold. This design was also used in France and elsewhere.

Droïds was a one-off electronic disco act by Fabrice Cuitad and Yves Hayat. Right after seeing Star Wars for the first time, Cuitad decided to make a concept album out of it. Star Peace was released in 1978. It was preceded by the single “(Do you have) The Force”. [Discogs]

“(Do you have) The Force” — Italian sleeve featuring Neo Script.

More Domino. Typefaces that were designed as outlined styles don’t always work well when filled in, see especially S. Without the inner line, N only is legible from context.

Here’s Domino used on the French version of John Travolta’s 1977 album Whenever I’m Away From You (released in the US with a different track order and artwork as Can’t Let You Go). The display face with the circle-and-cut counters is reminiscent of clothespins, certainly in the capitals. The outlined letterforms were filled with a yellow to pink gradient in this use.

Domino was first shown in Mecanorma’s New Types No. 3, 1972, together with Neo Script, the other typeface by French designers J.C. & M. Demarchi. The Graphis issue from November 1972 sheds some light on the way such dry transfer faces were sourced:

Every two months the projects contributed by graphic designers from various nations are examined by a specialized commission. More than 300 type creations have been received. Those considered best suited to modern graphic needs are then issued in the form of transfer letters. The creator of the selected typeface receives a royalty of Fr. 0.15 for each sheet sold. Due to the well-organized distribution network of Mecanorma, the artist may receive anything between Fr. 2,000 [ca. 400 USD then] and Fr. 10,000 or more per year. Each New Types edition, which is published several times a year, is extremely well advertised. The name of the designer, printed with the type he has created on the respective folder, is therefore assured of a wide circulation. It is still too early to know what the reaction of the public to the competition results will be. However, it is to be hoped that the initiative will encourage typographical creation, a sector of the graphic arts which has been too long neglected.

Domino’s success didn’t last for more than a few years. It’s not included in a Mecanorma catalog from 1974. As far as I can tell, the face hasn’t made its way into the digital age yet.

The logo was reused for the single “Easy Evil” / “Whenever I’m Away From You”, and quite literally so, albeit without stars: they were physically removed, see the traces in ‘J’, ‘V’ and ‘O’.