An independent archive of typography.
Topics
Formats
Typefaces

Cerrone – band logo and Supernature album art

Contributed by Matthijs Sluiter on Apr 25th, 2018. Artwork published in .
Cerrone – band logo and Supernature album art 1
Source: www.flickr.com Bart Solenthaler. License: All Rights Reserved.

Something special was in the drinks of Jean-Marc Cerrone and photographer Patrick Perroquin when they came up with this concept for a electro disco album cover: Cerrone unbuttons his shirt in a surgery room, while behind him three masked men and a plastic heart lie under an operating table adorned by an anatomy dummy.

What we do know:

1) Wikipedia:

Supernature is Cerrone’s third album, released in September 1977. It was released in France by Malligator Label. It is known also as Cerrone III, since it is the third album by Cerrone, who labeled his albums with a number.

2) The album’s number, 3, is hand-drawn, and accompanied by two typefaces. The title of the album is set in Quicksilver, released no longer than a year before this album came out. For the artist’s name, Childs was chosen. Not a hot new font, Childs was designed almost a century earlier (1892) by Herman Ihlenburg. Cerrone seems to have adopted it as a logotype for most of his albums.

Cerrone – band logo and Supernature album art 2
Source: www.discogs.com License: All Rights Reserved.

Typefaces

  • Childs
  • Quicksilver

Formats

Topics

Designers/Agencies

Artwork location

5 Comments on “Cerrone – band logo and Supernature album art”

  1. thanks so much ! I’ve been searching this font for years

  2. Happy to hear that –– and good thing that Childs is digitised and available!

  3. Peter Wiegel (under the foundry CAT Fonts) digitized Childs in 2015.

  4. Thanks, Jay. Richard Beatty made another digitization already in 1991. Neither Beatty’s (top) nor Wiegel’s (bottom) is great, e.g. none of them includes the alternates of the original. Wiegel’s version is autotraced, which shows in the crude outlines. Beatty’s drawing isn’t convincing either, and deviates from the original, see the bowl of d, for example. While his diacritics are too fancy for my taste, Wiegel simply slaps stylistically unrelated accents onto the Art Nouveau letterforms. Same goes for glyphs like & or ?. A missed opportunity.

  5. thank you all, this is precious info!

Post a comment