Close-up of Elektra’s 1966 logo, taken from the 1980 label design William S. Harveydesigned Elektra’s most recognizable logo in 1966. The label used this branding for 17 years before it adopted an overhauled identity (designed byMilton Glaser, type designer and master warlock of the graphic arts) in 1983.Reworkedvariationsof this iconic design were later used by the label after it was relaunched by Warner Music Group in 2009. The logo consists of an uppercaseE(based on outlinedBingo, a decorative stencil designed byJohn Albert Cavanaghfor his 1946 bookLetteringand adopted byPhoto-Lettering) directly above the word “elektra” (set inPhanitalian, a heavily flared decorative sans originating in the catalog ofVanderburgh Wells & Companyand offered in the 1960s byHeadlinersin its Morgan Press collection). Label for The Doors’ 1969 albumThe Soft Parade. This label design, as well as the logo, was first used in March of 1966 onPhil Ochs’In Concertlive album. Catalog number and disc side indicator, “STEREO,” and album title set inRailroad Gothic(ATF; 1906) [edit: or ratherGothic No. 13(Linotype), see comments]. Track list and credits set inVogue(bold; Intertype; 1930-1946). Band logo is a custom-made sort. Label forClear Light’s 1967 self-titled album(circa 1970–1973 reissue). This label design, which features a butterfly carrying theEby its stem (alongside a 7″ design featuring a caterpillar), was first used in August of 1970 onJosh White'sThe Best of…album. Band name set inFranklin Gothic(ATF; 1904–1913). Disc side indicator, catalog number and “STEREO” set inErbar-GroteskCondensed(Ludwig & Mayer; 1929). Track list and credits set inSpartan(ATF/Linotype; 1939), a copy ofFutura, here with its distinctive two-storya. Address info is set inTrade Gothic Extended(regular; Linotype; 1959). Label for Gamma’s 1979 self-titledGamma 1album. This label design, which is similar to the 1969–1970 design (only used on two LPs) but with a smaller logo, was first used in 1979 onNino Rota’s soundtrack albumfor the filmHurricane. Disc side indicator, catalog number, “STEREO” and band/album name set inFutura(bold; Bauer; 1927). Track list and credits also set in Futura (regular). Address info set inITC Avant Garde Gothic(regular; ITC; 1970).
This typography system embodies rebellious sophistication—the kind of counterculture credibility that could sign both The Doors and classical composers. The outlined stencil "E" paired with heavily flared Phantalian creates a tension between industrial utility and decorative flourish, communicating artistic authenticity with just enough polish to suggest serious musical curation rather than amateur rebellion.
The pairing works because both fonts share a mid-century decorative sensibility while serving different hierarchical functions. Bingo's stencil construction gives industrial credibility and memorable logomark potential, while Phantalian's exaggerated flares and condensed proportions create elegant contrast without competing for attention. The varied supporting cast (Gothic No. 13, Vogue, Franklin Gothic) maintains utilitarian clarity for catalog information while the decorative leads handle brand personality.
This is a masterclass in typographic hierarchy through contrast of construction rather than just weight. The outlined stencil E creates maximum impact with minimal means, while Phantalian's solid, flared letterforms provide grounding weight below. The industrial/decorative tension mirrors the label's positioning—serious enough for jazz and classical, edgy enough for rock pioneers.