In the late 1960s and early 1970s, the renewed interest in Art Deco spawned a number of typefaces with perfectly circular rounds. Since other letters are kept much narrower, those designs have an interesting (if agitated) look. Among monolinear sans serifs, this includes Epic (1968), Queen (1969), Herculoid (1970), and ITC Busorama (1970). In 1972, VGC released their addition to the genre: Organda, designed by Franz Heigemeir.

In 1974, Organda was used on the cover of an anthology titled School and Society Through Science Fiction, compiled by Joseph D. Olander, Martin Harry Greenberg, and Patricia Warrick. The design is uncredited. Chances are it’s by Todd Sanders, who designed a related cover for a book by the same authors, also published by Rand McNally in 1974.

[More info on ISFDB]

The medium weight of Organda, with alternates, as shown in VGC Alphabet Library, 14th ed., 1988.

This elegant restaurant at Nashville’s Hermitage Hotel is run by world-class chef Jean-Georges Vongerichten, with luxe interiors by Thomas Juul-Hansen. It’s named after a beloved hotel manager’s two children who spent their childhood there in the 1960s, playing games and charming guests.

Our brand identity combines the sophistication of Jean-Georges’ take on regional cuisine with a light-hearted warmth that characterizes Southern hospitality. The curvaceous, custom-drawn ampersand becomes a mark that signifies abundance and inclusion, anchoring the delicate Organda type that dances around it.

Organda with a custom ampersand

Robert Beatty has a fondness for late 1960s to 1970s typefaces to go with his fantastic pseudo-psychedelic illustrations. For the 2014–15 logo of The Phantom Band he starts with Organda and gives it a long shadow treatment à la Cinema. The secondary font is Trade Gothic Extended.

Greek Dances – Ελληνικοί Χοροί, various artists, Grecophon Records/USA. Cover design by Stephen Haas, with photography by Three Lions Studio.

The Greek glyphs were probably custom-made from forms found in Organda.

Rush.com:

Grace Under Pressure is the band’s 10th studio recording, released in April of 1984. It was recorded at Le Studio, like so many other Rush albums. Rush originally approached producer Steve Lillywhite to record Grace Under Pressure, but he went on to work on other projects. The band produced the album themselves, with assistance from Peter Henderson, who had previously worked with Supertramp, Split Enz, Frank Zappa, and King Crimson.

Largely considered one of the band’s darkest albums, Grace Under Pressure was influenced by the growing tensions in the Cold War in the 1980s. The album’s running theme is “pressure” and how humans act under the influence of it. Despite the dark themes of the record, the band balances out influences from a lot of directions, including reggae and a harder feel of the classic hard rock sound.

The writing and rehearsing of the album went quickly, but the recording took a long time. Alex recalled:

“…once we got into the studio, things just took a long time. You can’t really help it sometimes, no matter how hard you work or how fast you work; there are certain things about recording that just take a long time.”