“The Commons Revolution and the Law” is a book about new land issues in Africa, America, and Europe, published in French by Édition science et bien commun.

The cover typeface is Scorpio. This condensed design is based on lettering Michael Harvey drew for the card “The Sign of The Nudge” which was designed in collaboration with the concrete poet, Ian Hamilton Finlay. Harvey also used it on some of the many book jackets he designed. Andy Benedek turned into a digital font in 2015, two years after Harevy died. Scorpio is supported by Univers 67.

In How to Live Like a Monk: Medieval Wisdom for Modern Life, author Danièle Cybulskie discusses “how medieval monastic practices—with their emphasis on a healthy soul, mind, and body—can inspire us to live fuller lives today.” The book was designed by Misha Beletsky with illustrations by Anna Lobanova.

Misha shared these comments about the typography:

For a book on modern lifestyle that takes some cues from medieval asceticism, we needed a text type that feels current yet would hearken to earlier times. The restrained calligraphic feel of Jesse Ragan’s Study based on lettering of Rudolph Růžička, added a flavor of a scriptorium yet was not overtly Renaissance-inspired like other calligraphic text types such as Robert Slimbach’s Brioso or Jovica Veljović’s Agmena. To make it a perfect match to our subject matter, the squared-off curves echoed the structure of black letter without copying it.

For display we used the black weight of Fine Gothic—a friendly blackletter, reimagined by Michael Harvey and Andy Benedek in the spirit of Rudolf Koch.

Pica-Post is a new, twice-yearly publication showcasing the season’s best clothing and footwear from OiPolloi's perspective.

According to Michael Harvey’s description of his typeface, “Tisdall Script is based upon the brush-drawn script lettering of Hans Tisdall, who was the designer of many distinctive lettered book jackets for [London-based publisher] Jonathan Cape in the 1950s.” An appropriate selection for a book about British mid-century modern textile design. But there is and even stronger historical connection here: Tisdall was part of the Edinburgh Weavers, designing many textiles for the label and also the logo in the very style on which Harvey’s font is based.