Front cover to the album Burnt Weeny Sandwich by The Mothers of Invention, with art by Cal Schenkel.

According to Schenkel, the cover was originally meant for an Eric Dolphy album:

Originally done for an Eric Dolphy album, Moop Record, that Frank was supposed to produce. “It took about a day. I found all these interesting things and it just went together very quickly. But then the project was cancelled and the piece of art just sat there. Then Frank used it for Burnt Weenie.”

[More info on Discogs]

The Muppet Show Book was published in 1978 by Harry N. Abrams, Inc. The book adapts material from the first two seasons of The Muppet Show, with illustrations by Tudor Banus.

The main text font used throughout the book is ITC Souvenir. The characters’ names and initials are each set in a unique font, see the image captions for details. A few minor characters’ names are in ITC Souvenir.

“Introduction” is in the roman style of Bookman Swash. The character-specific fonts are Art Gothic for Kermit the Frog; Sweetheart for Miss Piggy; Yagi Link Double for Sgt. Floyd Pepper; Benguiat Laurent (with Psychemat effect) for Dr. Teeth [edit: rather Bullseye, a copy of PLINC Capricorn, see comments]; ITC Neon for Zoot; Crayonette for Janice; and Shatter for Animal.

Second page of the introduction, ft. Interline for Statler & Waldorf (without the pattern fill in Statler’s case); Scorpio/Hoopla for Fozzie Bear; and Burst Caps for Crazy Harry. The sound effects (“BANG”, “HA HA HA …”) are in caps from Caslon No. 471/540 or similar.

ITC Bookman Demi with swash caps

“THE NEW GO-FER” is in Franklin Gothic Extra Condensed.

An outline version of Cooper Black is used for Scooter and Hobo for George the Janitor.

Reward poster for Kid Fozzie, ft. Figaro

The typeface chosen for Rowlf is Reklameschrift Secession.

Moore Computer features for Kermit’s robot doppelgänger.

“GONZO THE GREAT” uses more of the aforementioned Caslon caps. The character font is Lydia.

Sam the Eagle is presented in a chromatic setting of Stripes Caps.

Cloud Bank for Dr. Julius Strangepork and Countdown for Captain Link Hogthrob

The initial I is from Thunderbird.

The initial S is unidentified.

Microgramma Condensed is used for Nigel

The formal script used for “The Lives and Loves of Gonzo the Great” is Typo Script Extended.

Round Rosie is the font used for Vincent Price’s initials … 

… and Smoke is the one chosen for Uncle Deadly.

Dr. Bunsen Honeydew is set in Gemini.

Filmotype Pixie was spec’d for Hilda.

Another Bookman Swash

Manuscript Capitals for “Bein’ Green”

The P from Mira identifies Koozebanian Phoob.

Chianti is used for Robin.

Kermit the Pig is in an unidentified font similar to Rubens and Duerer.

Playbill is used for J.P. Grosse. On this page, the o’s in Scooter’s name are altered to look like his glasses.

Cassette inlay ft. Data 70

Galactic Nightmare is a concept album self-published by Alan Jefferson in 1986. From Trunk Records:

Six years in the making (1979– 1985). A unique 90 minute space epic adventure made in a bedroom in Hull on limited and slightly dodgy equipment. A true labour of love and only previously available on C90 Cassette (with Dolby) via Sci-Fi and computer magazines in the mid 1980s. Totally unforgettable, joyous and full of extraordinary detail and ideas. 2 LP set, matt varnish, full colour artwork, printed inner sleeves with complete storyfile, lyrics etc.

The title on the original cassette release uses Data 70 with a gradient fill. In 2015, independent record label Trunk Records reissued the album on vinyl for the first time. Rather than reusing the original logo, Trunk used the similar Moore Computer for the title and track titles.

[More info on Discogs]

Front cover of the 2015 Trunk reissue ft. Moore Computer

Inner sleeve

A page of concept art and ephemera from the liner notes of Trunk’s reissue. Early designs for the title logo can be seen in the centre, both typeset in Data 70 and as custom lettering.

Man and the Computer has its title set in Moore Computer, modified to knock out the distinctive freestanding dots in M and N. “John G. Kemeny”, author, is set in Helvetica.

The man and computer of the title are represented in the cover design by, respectively, a silhouette and a reversed out punched card.

Kemeny was notable for, among other things, being President of Dartmouth College (1970 to 1981), and co-developing the computer programming language BASIC. BASIC was invented in 1963 and became incredibly influential and popular on the minicomputers and microcomputers of the 1970s and 1980s (see, for example, the first million-selling computer book: BASIC Computer Games). At the time of this book’s publication, 1972, punched card would have been the principal method of submitting computer code for running.

The book is apparently a personal retrospective of computer up to that point.

The holes (white rectangles in this showing) punched in the card encode letters and numbers in EBCDIC; which when seen visually in a punched card could be considered a sort of alternate script. Each column encodes a single character (numbers have one punch, letters two). A card would normally have 80 columns, but here only columns 5 thru 28 are shown (and only partially at that). I had a go at decoding the punched card, and while it is only partly possible, the word “ABLE” is encoded in columns 18 thru 21.

This is the 1971 studio album named Play Pops by Japanese keyboardist Hidemi Saito. He was one of Japan's leading electronic organists at that time, and he mostly plays the Electone on the majority of his albums. This album contains Electone covers of various popular songs during that time, and some of his own original works.

The album title is set in Moore Computer with the number 0 substituted for the letter O in “POPS”. The artist’s name is set in Stettler, while the word “electone” is set in a semi bold italic weight of Bembo.

At the back cover, the album title along with the English translations of some track names and its credits are set in Futura. The Japanese sans serif text is set in varying weights of Ishii Gothic.

[More info on Discogs]

This movie tie-in edition of Brave New World was released in 1978, announcing a “television mini-series from NBC” (the 1980 movie?) on the cover.

Cover art by Drew Struzan. Amelia is used for the title (with long SW shade) and the numerals. The author’s name is in Moore Computer.

[More info on ISFDB]

“The artwork was designed for the book cover (front & back) and was also used to advertise the made for TV movie.” – Drew Struzan

Andy Jenkinson a.k.a. Ceephax is an “Electrical Musician” from Essex, Engand, and the younger brother of Squarepusher. This single cover from 2012 comes in a retro-futuristic design featuring Moore Computer for “Mediterranean Acid” and Eurostile Bold Extended for “Capsule In Space” – electro music is typically associated with a futuristic vision of music, and typefaces like these are often employed to underline this vision. “Ceephax Acid Crew” at the top is set in ClubMF, a freebie made by Rick Mueller in 1993. All lines of text have been enhanced with contours and filled with color gradients.

[More info on Discogs]

Watching Toy Story as an adult interested in typefaces results to a whole lot of screenshot breaks.

The airlock display of the Spaceport Entry at Pizza Planet is set in Moore Computer. This typeface was created to resemble machine-readable numbers and as such it seems as a sensible choice to evoke technological advancement including – of course – space exploration. “Spaceport Entry” uses caps from Pasadena Serial Heavy.

Pizza Planet is a sci-fi-themed restaurant with arcade games including robot guards in knight’s armor at the entrance. According to Wikipedia, there is a Pizza Planet reference in almost every Pixar feature film.

Moore Computer (1968) in fairly early use in an ad for the Honeywell Kitchen Computer H316 from 1969. From Wikipedia:

The Honeywell Kitchen Computer, or H316 pedestal model, of 1969 was a short-lived product offered by Neiman Marcus as one of a continuing series of extravagant gift ideas. It was offered for US$10,000 (equivalent to US$71,000 in 2020), weighed over 100 pounds (over 45 kg) and was advertised as useful for storing recipes. […] Although a fantasy gift, the Kitchen Computer represented the first time a computer was offered as a consumer product.

Read more about the H316 on old-computers.com and Wired.

AM America was a morning news program by the American Broadcasting Company (ABC). Launched in January 1975, it lasted only ten months on the air. This promo clip was already mentioned in the post focusing on the program’s logo in Yagi Link Double. Here we’ll take a closer look at the other animated type in this spot, as it pretty much sums up the various trends in 1970s display typography in the United States.

The promo opens up with the name of host Bill Beutel, sliding in from both sides, in caps from the bold and informal Blippo Black, a geometric sans in the vein of Burko, Harry or Bauhaus Geometric. The typeface chosen for the name of co-host Stephanie Edwards – the only woman featured – is Ringlet, an 1880s design with curls, and one of the various Victorian faces that saw a revival in the 1960s and 1970s, in pink. Washington correspondent and news anchor Peter Jennings is represented by a wall of caps in a no-nonsense condensed grot, probably Helvetica schmalhalbfett. “News” gets the (then) futuristic MICR-style face Moore Computer. In further roles: Two staples from ITC; ITC Avant Garde Gothic Bold for Robert Trout and ITC Serif Gothic for Sam Ervin, both in all caps, and the inevitable Bookman Swash with its artificially obliqued and boldened letterforms for John Lindsay. The multicolored “Entertainment” uses an all-caps/unicase face made of dots, available from Photo-Lettering as Dellacroce Marquee B.

See the animated version on YouTube.

“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.

“This is the dawning of the age of Colossus (where peace is compulsory, freedom is forbidden, and Man’s greatest invention could be Man’s greatest mistake).”

This line is from the publicity for The Forbin Project, also known as Colossus: The Forbin Project. This 1969/1970 movie explores the possible dangers of developing computers with Artificial Intelligence, access to data networks, and software-controlled power supplies.

Dr Charles Forbin and his team have built a supercomputer called Colossus (presumably some kind of successor to the World War 2 codebreaking machines), which is designed to “take over the defense of the free world by monitoring intelligence data, detecting security threats, and automatically reacting without emotion in taking offensive measures”.

When switched on, Colossus immediately asks to be connected to its hitherto-unknown Russian counterpart. The two computers establish their own maths-based language, and promptly decide to take complete control of the USA and Soviet military empires. Things don't go well for the scientists and politicians.

The titles say “Copyright MCMLXIX”, but the movie was first shown in movie theatres in 1970.

The titles, designed by the prolific Don Record, use a version of the Computer typeface. In this version, the W, N, and M have lost their enclosed squares, presumably to improve readability. The font also appears in the camera displays, which are installed after Colossus insists on being able to supervise Dr Forbin and his team at all times.

[More info on IMDb]

Front cover of Billy Vaughn’s 1969 album, The Windmills of Your Mind. The track listing is set in all-caps Folio Light.

I’m pretty sure the first thing that comes to mind (embedded with windmills or otherwise) when you think of easy listening and late-60s pop songs is not something similar to this album cover. The psychedelic, colour-shifted visuals and future-flavoured phototype imply that the music within was created with towering analogue synthesizers, not the elevator music equivalent of an off-Broadway orchestra.

Back in 1969, somebody at Dot Records thought the combination would be just groovy for this compilation from multi-instrumentalist, arranger, and orchestra leader, Billy Vaughn.

Art direction by Christopher Whorf, with photography by Gene Brownell.

[More info on Discogs]

Back cover of Billy Vaughn’s 1969 album, The Windmills of Your Mind. The track listing and credits are set in Trade Gothic, while the manufacturing and distribution text is set in Bank Gothic.

A photo of Neptune with Times New Roman in front of it.

From TV Tropes:

Gemini Home Entertainment (GHE) is a Web Video horror anthology series by Remy Abode. The videos are presented in the form of short guides, documentaries or adverts distributed by the (fictitious) Gemini Home Entertainment video company. They depict a world where things went wrong although the exact details of which are unclear.

Times New Roman is used for the logo and as standard typeface. The images shown here are taken from a clip titled “Our Solar System” from January 2020, featuring the futuristic Moore Computer. See more GHE videos in the dedicated YouTube channel.

The Computer font is used on the title card and the rest of the video.

HWLS is the music project of artist Justin Elwin. StudioThinktank® worked with Justin and Future Classic to create an overarching aesthetic tone for the project that could be used throughout tour and release marketing.

StudioThinktank®’s Scott Mellor, already having a close relationship with Justin, was trusted to create concepts based on his intrinsic knowledge of Justin’s personal style and interests.

StudioThinktank® continue to work closely with HWLS to create consistant and foreward thinking design elements for the project.

The fonts used for the I Might Be Dead mixtape include Moore Computer (front), FB Titling Gothic (spine), and the ultra-compressed Cinderblock 400 (outlined for “1524”) The HWLS logo is custom drawn, while the Future Classic logo uses Adobe Garamond with a custom ut ligature and a c from another face.

Source: rover.ebay.com Image: My Comic Shop. License: All Rights Reserved.

Source: rover.ebay.com Image: My Comic Shop. License: All Rights Reserved.

In 1970 there were five very obvious ways to say "computer" with a typeface: Amelia, Countdown, Gemini, Westminster, and Moore Computer itself. Many other MICR-inspired typefaces would follow throughout the 1970s, and again in the digital era.

Cover

From page 2: “The full name of the kind of computer we will study is ‘general purpose digital computer’. From now on we’ll simply refer to such machines as ‘computers,’ which is what everybody does anyway.”

This book should have been titled, Computer Programming in BASIC for Everyone Except Owners of TRS-80 Model I Microcomputers. The book should have been subtitled, Don't Be Misled by the Picture on the Cover. — librarything.com

Pages 1 and 2.

Pages 7 and 8. The glyphs and commands on the buttons of the keyboard image use an as yet unidentified (proportional) typeface.

Pages 33 and 34, showing actual (monospaced) printer output.

Summary.

Back cover, set in Univers.

Conways Photosetting was a photosetting shop in London priding itself in being ‘good because we have good people’ with a large catalogue of typefaces: some of them licensed from Lettergraphics, some of them appearing original, some of them inspired by competitors.

This particular ad (with perfect 1970s copy style) doesn’t just display wittily the wide array of typefaces they had available but also could be throwing shade at Face Photosetting, a competing shop of the time (‘Not just a pretty face’).

Here's a breakdown of what typeface are used on the poster. The name between brackets is the name found in the Conways catalogue. Note the use of reversed colours for Jim Crow to better match the poster.

We have – Amsterdamer Garamont (Garamond Bold)
Thin faces – Kabel Light (Cable Light)
Fat faces – Mania (Photomania)
Round faces – Futura Bold
Square faces – Eurostile/Microgramma
Condensed faces – Permanent Headline
Bold faces – Futura Extra Bold
Outline faces – Cooper Black Outline
Beautiful faces – Bank Serif
Ugly faces – Rustic
Old faces – Cloister Black
New faces – Computer (Moore Computer/Mogul Computer)
Way in faces – Times Bold
Way out faces – Prismania (Prink Modi)
Swiss faces – Helvetica
American faces – Jim Crow (colour reversed)
Greek faces – Poliphilus Titling
German faces – Fette Fraktur (Fraktur)
etc, etc, etc. and (in every size, shape or colour) – Caslon

Copy text: Amsterdamer Garamont (Garamond Old Style)

Virtual Love curates different art related experiences throughout the year focusing on building a community between artists of any field and among guests. The logo is based on Computer. The sans serif used as secondary typeface is GT Eesti Text.

“The Magnavox Odyssey is the first commercial home video game console. It was developed by a small team led by Ralph H. Baer at Sanders Associates and released by Magnavox in the United States in September 1972 and overseas the following year … Magnavox designed the exterior of the machine.” — Wikipedia

The logo is set in David Moore’s Computer, one of the most popular typefaces of the 1970s for futuristic electronics and science fiction entertainment.

I have fond memories of these consoles. Over two glorious weeks in the early 1980s my brother-in-law left his Odyssey² unit at our house.

Odyssey², released in 1978.

This monoline typeface is unidentified. For the most part, it seems to be Computer with all the thick bits trimmed off. Exceptions are unique forms for ‘7’, ‘9’, ‘L’ and ‘W’.