The Berkeley Tribe is possibly the most famous “New Left” newspaper. Centered in Berkeley, California, it (like other publications) focused on revolutionary subject matter (Black/Women's Liberation, Gay rights, Antiwar Movements, etc.). Their headquarters were at multiple times bombed or shot, with the FBI surveilling their operation.

The masthead, like with many famous magazines, such as TIME, is a custom lettering.

Crediting designers for each issue can be tricky, as intimidation from attacks and police prompted staff to remove their names from the masthead. However, East Bay Media is noted to have served the tribe's publishing and at least some graphic design from 1971, the time of this issue here (it is possible other Berkeley area shops filled a similar role during the paper's run, too).

Early covers and hand lettering are credited to designer Gary Grimshaw, who possibly did not work on this particular specimen.

Shown here are the cover and a selection of eleven of the twenty-four pages, featuring most of the display fonts used in the editorial design at least once. Text is set in Univers and Century Schoolbook.

Headlines in Dom Casual (“The Unknown Defendant”) and Clarendon (“Justice We Don’t Expect From You”)

Publicity Gothic (“No Future Rev No Family”) and Clarendon

“Weather Sister Ripped Off At Flicks” is in Roberta.

Headlines in Antikva Margaret (“U.S. Bombs”) and Windsor Elongated (“Thoughts On Being Human”)

Grotesque No. 9 for “SIERRA” and “feedback”

Franklin Gothic for the “Pusherman” headline, De Vinne for “Human Culture Time-Line”

Cooper Black and Haas Inserat Grotesk for “War-Season’s Greetings from JAPAN” . The ad below features two weights of Blippo (equivalent to Burko and Harry) and City.

Profil for “OKINAWA”. The ad for Midnight Films uses Mistral.

More Inserat-Grotesk for “The Sacred Tree is Dead”. Times New Roman is used for the poem at the bottom right.

The “KILL ’EM” headline is set in Windsor. Smoke and Futura feature for the Free Store ad and Helvetica for the one by Sound City.

The “Masturbation” headline is in Jay Gothic. Fonts used in the ads include Flash (“Native Son”) and Commercial Script (“MANDRAKE’S).

I began collaborating with Sean Mason on the design of his sophomore album in October 2024. He reached out to explain his plan for a complete rebrand of his visual identity. Sean is a visionary Grammy-nominated jazz pianist, composer and bandleader, and a recipient of a Bessie Award and Bistro Award.

The challenge was to translate the pianist’s spiritual and creative rebirth into a singular visual identity; to visually represent the joy, but also the difficulties, of that process.

The primary inspiration was the Ivy aesthetic, championed by Miles Davis in the 1950s and 60s. Sean attended Juilliard and moved to NYC in 2018. He then came back to his roots, his hometown of Charlotte, North Carolina. His music is deeply rooted in the cultural heritage of the South. Thus, it felt fitting that the album packaging hinted at the colors of the American flag. Sean’s musical style is very reverential, often paying homage to old school jazz, hard bop and gospel music. I wanted the visual aesthetic to mirror his respect for the jazz tradition. Therefore, in all the promotional materials and the album packaging, I incorporated typographic references ranging from the early 20th century to the 1970s.

[More info on Discogs]

Front and back cover

Inner gatefold

Inner sleeve

These sheets include logos of publications that reviewed A Breath of Fresh Air, some of which use additional fonts like Gill Sans, Clarendon, and Frutiger that are not part of the album design.

All-caps Windsor Elongated set on a semi-circle for Signet’s paperback edition of Ellison Wonderland from 1974. The title is integrated into the fantastic cover art by Bob Pepper, hovering as a sort of halo above the open head.

[More info on ISFDB]

This Greatest Hits compilation by Mitch Ryder & The Detroit Wheels was released by Virgo Records in 1972. The shown pressing with identical cover design is by Roulette Records. The exclusively typographic design by Horace Fernandez uses ITC Pioneer in vibrating color combinations. Song names are listed in all-caps Windsor Elongated.

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Papillon is a Southeast Asian bar and restaurant, serving Manila’s most adventurous characters who aren't afraid of being caught at the scene red-handed. Papillon transports guests to a tropical hideaway; an intimate den where they can rest easily and explore the culinary treasures the region has to offer.

Mild Side partnered with the brand owners, Chefs Fonso and RJ, to create an identity inspired by vintage contrast in Southeast Asia during the 1890s–1920s. There was a sense of secrecy and cleverness seared into the brand, as if dining at the restaurant made you a part of ‘the gang’. We designed several versions of their logo versions to create a feeling of myth and long history, and curated a selection of typefaces and colors that expressed the character of the period, hinting at a bit of quiet opulence and cheeky humor with the use of gold accents, ornamental borders, and custom illustration.

Overall, this was an exciting exercise in storytelling and cramming six typefaces into a brand and making it work.

Dragons, Dragons, Dragons is an anthology of twenty-seven short stories and short fiction, plus one poem by Lewis Carroll, all about – you guessed it – dragons. It was compiled by Helen Hoke (1903–1990) and published by Franklin Watts in 1972, with cover art and interior illustrations by British artist Carol Barker (b. 1938). The title typography uses all-caps Windsor Elongated, set on a curve.

[More info on ISFDB]

The first-edition jacket for The New Journalism depicts a stylized floating skyscraper. Behind each of its twenty-one windows, there’s the silhouette of a New Journalism author hammering away at their typewriter. The fantastic airship is moved by a gigantic pencil, obviously at some speed, as the motion lines indicate. Dozens of open books flutter around the flying building in strict formation like a well-organized swarm of butterflies.

The typography brings together the shaded caps of Marble Heart for the title (with “Journalism” highlighted by the yellow pencil body), Franklin Gothic Extra Condensed for the names of the anthology editors, and all-caps Windsor Elongated for the names of the featured authors. “By Tom Wolfe” probably is lettering.

I’d love to learn who designed this! Gloria Adelson is credited for the book’s interior, but I don’t think this extends to the dust jacket.

The back lists the twenty-three texts included in the anthology in two weights of Helvetica. Two authors, Hunter S. Thompson and Wolfe himself are featured twice.

From Wikipedia:

At the end of 1970, the First Edition had their seventh Top 40 hit with the Kin Vassy-penned “Heed the Call”. Another song about the need for brotherhood, it was seen as an uptempo counterpart to the balladry of “Tell It All Brother.”

[More info on Discogs]

UK pressing on Decca Records. Track names are listed in Univers Condensed.

From Wikipedia:

Through the Past, Darkly (Big Hits Vol. 2) is the third compilation album by the English rock band the Rolling Stones, released in September 1969 by Decca Records in the UK and London Records/ABKCO Records in the US. […]

The name of the album is a play on a line from the KJV translation of 1 Corinthians 13: “For now we see through a glass, darkly, but then face to face…”

The font used for the band’s name and title is Windsor Elongated, with Akzidenz-Grotesk schmal fett for the text in parentheses. Cover design by John Kosh, with photography by Ethan Russell.

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US pressing by London Records. Track names are listed in Alternate Gothic (or Trade Gothic Condensed).

Alex Joseph designed the album artwork, logo and branding for Lola Young’s album This Wasn't Meant for You Anyway. The cover features a portrait by Sophie Jones, with Lola Young's name set in Windsor Elongated, with added weight. The album title appears discreetly below in Helvetica Bold. The same fonts are used across the vinyl design, album singles, and promotional materials.

[More info on Discogs]

Feinsprizz is a new white spritzer with a fresh design that conveys lightness and enjoyment.

The identity of the project was designed by Magdalena Haider Zotti who used Holise for large texts and Barlow for body copy. The logo uses Windsor Elongated.

German sleeve for a 1975 re-release of “Be My Baby” with B-side “Do I Love You”, originally released in August 1963 and June 1964, respectively. While the song titles are set in caps from Windsor Elongated, the band name is shown in a two-color rendition of Graphique, arranged on an arch, with partly overlapping letterforms.

[More info at Discogs]

Nestled in the heart of the vibrant Saint Germain neighborhood of Paris, Au Buci offers a unique blend of homey intimacy and eclectic design. We deliberately mixed various typefaces, papers, colors, and textures to evoke the feeling of entering a beloved personal space, stepping away from traditional, predictable branding to mirror the distinct comfort of a home rich with stories.

Our brand essence extends into a subtle layer of sensuality throughout the hotel’s branding and physical space, from inviting materials to an interior design that plays with light and shadow, alongside curated art that stirs emotions and connections. This approach goes beyond aesthetics, creating an environment that invites guests to immerse themselves deeply into their senses.

The work of our graphic designer, Arthur Alazard, was instrumental in realizing this vision, marrying visual appeal with intimate personal touches. Our collaboration with artisans like Atelier Bulk and Julien from 6 Lettres further infused our branding and space with a tangible warmth and depth. They helped ensure that every printed material and the storefront’s letter painting not only captured Au Buci’s essence but also contributed to a sensory journey that defines our space as an intimate refuge in the midst of Paris, offering a retreat that celebrates both Parisian elegance and the cozy comfort of feeling at home.

The BUCI wordmark is custom drawn. So is the B initial, which is inspired by Vivaldi.

Text on the booth’s light box sign is set in Persona and a yet unidentified script

On the occasion of the Nitto ATP Finals (12-19 November 2023), Tennis association ATP and digital art platform Artchild partnered to launch a limited edition tennis poster, designed by acclaimed artist Honor Titus.

The poster was available online and on site during the 2023 Nitto ATP Finals. The on-site poster booth was designed by Dum Dum Studio / Christina Rodriguez and was dressed up in posters using a few handfuls of typefaces.

The capitals of the top four lines are a mix of Affigere and at least two more sans serifs. The bottom line is set in Persona and three more yet unidentified typefaces.

The smallest typeface on these posters is Fluxisch Else, a deliberately imperfect version of Univers; “extra” is set in Hypocrite.

The script typefaces on this poster are Ballet and Jane Austen, complemented by ITC American Typewriter Condensed.

“Un Uomo” is in Antique Book Cover, “E Una Racchetta” in Snell Roundhand. The bottom line pairs Serial B with Windsor Elongated.

A combination of ITC Avant Garde Gothic Condensed, Tzigane and Serial D

The newspaper-like masthead uses Leipzig Fraktur Bold. The big text is set in Century Schoolbook. Dalliance Script is used for the date and URL. The smaller texts are set in a combination of ITC Avant Garde Gothic and Airstream NF. The script used for Honor Titus’ name is Snell Roundhand.

Ode to John Law is the second studio album by Scottish blues rock band Stone the Crows, released in 1970 by Polydor Records. The album design is by David Juniper, who also takes design credits for the band’s debut album from 1970 as well as for Led Zeppelin’s II from 1969.

For Ode to John Law, Juniper used a Surrealist painting by artist Leo Sauer for the front cover. The typography pairs two vintage typefaces, Reklameschrift Secession (before 1905, in all caps) and Windsor Elongated (before 1908, in all lowercase).

[More info on Discogs]

The gatefold features illustration in a style that was popularized by Sandy Hoffman, John Alcorn, Milton Glaser, and others.

Text on the back cover is set in the IBM Selectric version of Univers.

Thirteen terrifying tales to chill you today – and haunt you tomorrow

The gruesome cover art by Les Edwards is supported by the claustrophobic tightness of all-caps Windsor Elongated. The narrowest member of the Windsor family is used with EndcapS.

This compilation was edited by Giles Gordon and features short stories by Brian Aldiss, Patricia Highsmith, Francis King, Penelope Shuttle, William Trevor, Michael Moorcock, William Sansom, Angela Carter, John Sladek, Peter Redgrove, Joan Aiken, George MacBeth, and Barry Unsworth.

[More info on ISFDB]

Cover for an easy listening album first released in 1959 as Tribute to Jerome Kern by Stradivari Strings, Al Goodman’s Orchestra (Spin-O-Rama). Other versions include The Music Of Jerome Kern (Gala Records, 1961) and Ping Pong Percussion Jerome Kern (Spin-O-Rama, 1964). This undated version credited to The Limelight Strings was released by Power Records in the Apple Honey Series probably sometime in the late 1960s or early 1970s.

The band name is in all-lowercase Schmale Herold, the compressed style added to Berthold’s Herold series in 1904. The title combines slightly stretched Umbra, the shaded variant of Ludlow’s Tempo, and Sans Serif Shaded. Track names are set in caps from Windsor Elongated.

1970 album from American drummer and singer Buddy Miles, issued shortly after his membership in the short-lived Band of Gypsys along with guitarist Jimi Hendrix and bassist Billy Cox. The title cut is considered his best-known tune, and was also performed with Hendrix on the Band of Gypsys album.

The title and artist are set in Caslon Open, with a gold embossed effect on the original album cover. On the back cover, the song titles are likewise set in Caslon Open, with credits in an unidentified serif.

Album design by Richard Germinaro, with art direction from Desmond Strobel and photography by Burnell Caldwell. John Craig consulted on the design.

[More info on Discogs]

Gatefold

Back cover

Alternate cover for the Netherlands issue of the album on Fontana, with artist and title in Windsor Elongated

Solomon’s Seal is the sixth studio album by British folk band Pentangle, recorded at Sound Techniques studio in 1972 and released by Reprise Records.

Zipper is in use for the name of the band. Windsor Elongated is used for the title of the album. The cover was designed by Chris Ayliffe.

[More info on Discogs]

Liege & Lief is the fourth album by British folk rock band Fairport Convention, recorded at Sound Techniques studio in London and released in the United Kingdom by Island Records in December 1969 and in the United States by A&M Records in 1970.

Roberta Nicol is credited for the design concept (together with the band) and execution. She has worked on two other Fairport Convention albums, and also made a design for Continental Drifter’s mini album Listen Listen that has a very similar look to Liege & Lief. Diogenic Attempts is credited for the design co-ordination.

Richmond Old Style in its Condensed weight is used for the band name and album title on the front cover of the album.

This album has seen a lot of reissues in various formats (110 different versions according to Discogs). Most of them use the same artwork for the cover, sometimes with color variants. Some cassettes covers have the title and band name written in various typefaces in addition to the original artwork untouched, and one 8-track release only kept the pictures of the band members.

One notable exception is the cassette reissues from 1970 and 1971. These versions’ covers feature only the title of the album and the band name over a pink background. This time, Windsor Elongated is used for the text, with two small details that seem worthy to mention. The lowercase a seems to have been rotated to look straight. The ampersand looks very similar to the original album art and is probably still from Richmond Old Style.

The back cover has been modified numerous times depending on the release date and format, with different degrees of alteration. The typefaces are different from one version to another.

[More info on Discogs]

Front cover of a 1970 U.S. release by A&M Records.

Gatefold

Back cover of a 1970 U.S. release by A&M Records. The typeface appears to be Textype.

The cover of the cassettes reissues from 1970-1971

Front cover of a later edition with a color variant

Back cover of a later edition with a color variant.