Paredon Records was founded in 1969 by Barbara Dane (b. 1927) and Irwin Silber (1925–2010) to “publish recordings of cultural expressions, especially protests, in order to preserve them.” Over its 15 years of active production, Paredon released 50 albums with “songs, music, poetry, speeches, documents of class struggle, national liberation, women's emancipation and democratic rights”. Today it’s a sublabel of Folkways Records. The Smithsonian writes about Carlos Puebla (1917–1989):

Carlos Puebla challenged foreign influences and the forces of imperialism in 1950s Cuba with songs about his oppressed countrymen. Then, in his music, he chronicled and celebrated the 1959 revolution. He and his group have toured throughout Cuba, Latin America, and “anywhere they are needed by the revolution.” Liner notes in Spanish and English include song lyrics and an account of Puebla's service to his lifelong cause.

Many of the album covers for Paredon Records were designed by Ronald Clyne (1925–2006), who’s also responsible for countless interesting sleeves for Folkways Records. For Cuba: Songs for Our America, he chose Joc Line. This display face is the work of Catalan designer Gabriel Fumanal Martinez who drew it when he was 20. Joc Line was chosen and released as one of the winners of a competition held by Letraset in 1973. Earlier this year, Brazilian designer Rafael Nascimento released a digital interpretation named Joc.

The chromatic setting of Joc Line is complemented by Helvetica. For the second line, Clyne used its Thin (a.k.a. Ultralight) weight, with extratight spacing. Helvetica Thin was added to the family in 1970. See this starveling in use on Clyne’s cover design for Music of the Bhutan from 1978.

[More info on Discogs]

The track names on the back are set in Times New Roman Bold.

“Omar Rayo en la Segunda Bienal Americana de Artes Graficas / Museo La Terulia / Cali Colombia, Octubre 1973.” Stripes (1973) is paired with Pump Bold (1970), which is used without i dots.

Omar Rayo (1928–2010) was an abstract art painter from Colombia whose geometric Op Art works have been exhibited multiple times at Museo La Tertulia and at Museo Rayo in Cali. The two museums collaborated on a retrospective exhibition with paintings from both collections. Each time a catalogue was printed it featured a different typeface arrangement, mostly with geometric display typefaces. Both museums even made an special exhibition in 1977 called Los Rayos del Museo Rayo y los Rayos del Museo La Tertulia.

Some exhibition catalogues like the one for La constante geometría from 1972 had original lettering, but most of the covers and posters are early examples of instant lettering typefaces in use, with very original typesettings. Unfortunately I couldn’t find any information about the designer of these printed materials.

Another exhibition from 1985 called Rayo Serie Raya Blanca Raya Negra shows Stripes in use. In Spanish, Omar’s family name Rayo could be translated to “ray”, but when used in feminine form, Raya means “stripe”. In this case, it transtales to: Rayo White Stripe and Black Stripe Series.

Joc Line (1973).

Stop (1971) and caps from an unidentified wide grotesk (similar to Akzidenz-Grotesk or Venus breit) for Omar Rayo at the Museu de Arte Moderna de São Paulo.

Sans-serif caps from what appears to be a predigital cut of Helvetica, cropped and repeated.

Traffic (1973).

This piece of lettering appears to be modeled after Pacella Graphic Biform or Bailey.

Deutsch Black (1966).

These letterforms that look like folded paper strips are either custom drawn or from an unidentified typeface.

Compacta Bold Outline (1965) on an angle, with a circle punched out and rotated.

Eurostile neretto largo (1962), caught in a grid.

ITC Ronda Bold (1970), with a crop-and-repeat treatment and a custom interlinear ligature.

Good Vibrations (1973).

Yagi Link Double (1968).

Baby Teeth (c. 1966).

Hot Dog (1975). While most of the other typefaces were carried by Letraset, Hot Dog was exclusive to their competitor Mecanorma.

These caps look like they’re from Moore Computer (1968). The Y isn’t a match, though – it might be an alternate, or a modification.

This ladder-like arrangement appears to use custom drawn letterforms.

Poster for Rayo Serie Raya Blanca Raya Negra (1985), featuring Stripes and Helvetica. The Museo Rayo logo at the bottom left is based on ITC Avant Garde Gothic, while the text at the right is set in caps from Wexford.

Poster for La Constante Geometria (1972), ft. more ITC Ronda and Univers Ultra Condensed or similar. The big “OMAR RAYO” is probaby custom. For similar extracompressed digital fonts, see Radiator or Fit Skyline.

Joc Line in use for a series of singles by Slovak pop singer Marcela Laiferová, released in 1974, 1977, and 1979 on Opus Records. The three records use the same front and back cover.

The typeface was designed by Gabriel Fumanal Martinez, a designer from Barcelona, at the age of 20. It 1973, it was selected as winner in Letraset’s International Typeface Competition. It was released in their Letragraphica range and is shown in the 18 New Type Faces catalog.

The geometrically constructed unicase letterforms were partly filled with color; once in red and yellow, and once in blue and green. On the back cover, there’s an acute accent inside the letter á. On the front side, however, the uncredited designer used a period to mark this diacritic in the singer’s name.

Price and catalog number are set in Futura. The bold compressed sans used in all caps for the song titles is the same typeface that was used by Supraphon in 1980 and 1982. It hasn’t been identified yet.

[More info on Discogs]

“Hymna Lúčnych Rán” / “Káva Zrnková”, 1974.

“Spi, Môj Synček” / “Harlekýna Zdobí Svet”, 1977.

“Hrdá Láska” / “Kvapka Medu”, 1979.

Typographie: Schrift und Graphik mit Letraset was an exhibition that ran in Darmstadt, München, and Zürich in 1978–79. This 8×8-inch 72-page catalog was designed by Christof Gassner and features his own work along with dozens of other designers who used Letraset.

Design: Christof Gassner

Design: Helmut Langer

Design: Christof Gassner. Promotional material for Deutsche Letraset. The last image was used for the cover of LetraTime.

Design: Friedrich Friedl

Design: Christof Gassner. German translation of a quote by Henri Michaux: “Qui s’est abaissé devant une fourmi, n’a plus à s’abaisser devant un lion.” – “Those who have bowed to an ant do not have to bow down before a lion.”

Design: Christof Gassner. German titles of various plays by Shakespeare: A Midsummer Night’s Dream, Much Ado About _, King Lear, Richard III. For more, see Schauspiel im ZDF.

Design: Christof Gassner. Various film titles: Le Quai des brumes (Port of Shadows), The Third Man, Daddy Long Legs, Scarface