For the paperback covers, Keith Sheridan Associates applied the same design recipe as for their reissues of books by Jim Thompson: monochrome photographed crossed by colored stripes that resemble police tape. These bands present title and author name in an expanded typeface. This time it’s not Latin Wide, but Filmotype Fox. This grot came out in 1953, around the time when Goodis wrote the novels. As with the Jim Thompson series, the first name is in all lowercase letters and the rest in all caps. The blurbs are again added in Helvetica breit fett.
Source: www.flickr.comUploaded to Flickr by Bart Solenthaler and tagged with “filmotypeford” and “helvetica”. License: All Rights Reserved.
Street of No Return, 1954 (1991). Photo by Barnaby Hall.
Source: www.flickr.comUploaded to Flickr by Bart Solenthaler and tagged with “filmotypeford” and “helvetica”. License: All Rights Reserved.
Black Friday, 1954 (1990)
Source: www.flickr.comUploaded to Flickr by Bart Solenthaler and tagged with “filmotypeford” and “helvetica”. License: All Rights Reserved.
Shoot the Piano Player a.k.a. Down There, 1956 (1990). Photo by Ken Shung.
Source: www.amazon.comUploaded to Flickr by Bart Solenthaler and tagged with “filmotypeford” and “helvetica”. License: All Rights Reserved.
4 Comments on “David Goodis book series, Vintage Crime/Black Lizard”
That looks more like Filmotype Fox (or a similar typeface.)
This is Filmotype Fox.
Of course! Thanks for the catch, Bryson and Quinn. Fixed.
There are more such striped covers for reissues by Black Lizard. For each author, Keith Sheridan Associates picked a different typeface. I don’t find all of them as convincing as Fox for David Goodis and Latin Wide for Jim Thompson. Optima is used for Fredric Brown and Times Bold for Charles Williams, both times with seriously stretched letterforms. Charles Willeford got Futura Extra Bold Italic, and Richard Neely Eurostile Bold Extended.