These striking alphabets are illustrations for the lead article “The Penrose Survey” in the Penrose Annual 1970, no. 63. The dust jacket of the edition also featured, against a hot pink background, 2 of the alphabet designs.
The illustrations are from David Kindersley’s book “Variations on a theme of twenty six letters”, a book published to coincide the with opening of Kindersley’s fascinating alphabet exhibition at The Folio Society, London, 1969.
David Kindersley – From Variations on a Theme of 26 Letters, Penrose Annual 1970
Another of the advertisement inserts in the Penrose Annual 1956. This one for Mistral, by the Typefoundry Amsterdam. (Unfortunately these pages have some water damage which has caused the ripples and shadows)
This font was designed by Roger Excoffon (1910-1983), who (from the printed text):
“Had to fit the irregularities of the handwriting of present day business men, intellectuals and artists into the regular framework of a printing type with connecting strokes…of necessity these connecting strokes must end and being at the same level and be inclined at the same angle. The capitals unlike those of most scripts combine easily, and can be used on their independently of the lower case”.
Air France was one of Roger Excoffons largest clients, and they used a variation of his Antique Olive until 2009 when a new logo was introduced. Excoffon also designed: Chambord (1945) Banco (1951) Mistral (1953) Choc (1955) Diane (1956) Calypso (1958) Antique Olive (1962-1966).There is an excellent, in depth article on Roger Excoffon on a very smart French Graphic Design website HERE
John Copeland ( b 1935 – ) only worked for the World Record Club for 4 years, but produced some of their most memorable covers.
In 1957-58 John studied the London School of Printing. His teachers included Tom Eckersley Derek Birdsall, Donald Smith and Australian Keith Cunningham.
In 1958 he joined the World Record Club when he returned to Australia. He worked there until 1962 after which he taught for many years at the South Australian School of Art, and as a freelance designer – his set of stamp designs for Australia Post in 1973 is another fine example of his work.
Copeland’s designs often featured bold flat areas of colour and black outlining of shapes, and at other times beautiful and highly decorative use of delicate line patterns.
The Prokofieff album cover below Is I think at the same time a beautifully delicate and simple design, achieved while using the bold simple shapes of piano keys.
More here: https://www.agda.com.au/inspiration/hall-of-fame/john-copeland/
One of the outstanding Advertising inserts in the Penrose Annual 1956 is this 4 page spread from Linotype fonts, London (London & Machinery ltd.). As with many of the showcase advertisement supplements in the Penrose Annuals, these are superbly printed on heavy card.
I notice that each of the images on page 4 was available as a reference broadsheet – how I would love to find one of those and frame it.
London & Machinery ltd Linotype Fonts, Penrose Annual 1956