Moulin is the brand typeface of retreat enterprise Palstone. Their visual identity was designed by Studio Retama:

Palstone offer experiential, seasonal retreats from fringes of Dartmoor, South Devon. The retreat is hosted by rotating experts within five keys fileds: art, nature, yoga, healing and food.

The logo references the asymmetric five sided-shape of the stone inset the ancient wall that surrounds the farmstead. This asymmetric is also introduced by way of the font Moulin (Commercial Type). A fine balance between sculptural and calligraphic forms, the classical shapes of the typeface were near perfect match to the original stone-carved lettering we found throughout different sections of Palstone.

As the retreats are seasonal and varied, the identity adapts to each on through the use of colour.

Cornish Shipwrecks, Vol. 1: The South Coast, David & Charles, 1969

Temple Script was used together with Univers for a series of books about shipwrecks in Cornwall, authored by Richard Larn and Clive Carter, and published from 1969 in the United Kingdom by David & Charles. Taplinger used the same jacket designs for the American editions.

Temple Script is a lesser known typeface made for the Monotype. The pen italic originated in the 1930s as series 455. In Germany, it went under the names Uhlen-Schreibschrift and Tempelhof-Schreibschrift, suggesting that it was commissioned by the Ullstein-Verlag, a large publishing house in Berlin-Tempelhof. Its designer is unknown to me. Several glyphs included in a 1937 showing also hint at a German origin, like the barred forms for J X Z z 7, the descending P, and the cursive, Kurrent-like d, which were common in German-speaking countries, but less so elsewhere. Some characters later were shown with different – revised or alternate – forms. This includes the T with a stem that curves to the left as well as the non-descending h and k seen here on the dust jackets.

Cornish Shipwrecks, Vol. 2: The North Coast, David & Charles, 1970

Cornish Shipwrecks, Vol. 2: The North Coast, Taplinger, 1970

Cornish Shipwrecks, Vol. 3: The Isles of Scilly, Taplinger, 1971

Source: www.stellabooks.com License: All Rights Reserved.

Desdemona Solid for the dust jackets of a series of books by British horticulturalist E.A. Bowles (1865–1964), covering the four seasons in three volumes. Originally published in 1914–1915, this edition is a reprint by David & Charles from 1972. While the interior (not shown) is a facsimile of the original, the jacket design uses Letraset’s early-1970s revival of Desdemona, with one word per line. The author’s name is in Berling Italic.

Source: www.blackswanbooks.com Black Swan Books. License: All Rights Reserved.

Source: www.abebooks.com C. Arden. License: All Rights Reserved.

Source: www.abebooks.com C. Arden. License: All Rights Reserved.

Source: www.abebooks.com C. Arden. License: All Rights Reserved.

From design agency Buddy Creative Ltd.:

Blended with fresh, natural spring water from the hills of Dartmoor, Black Tor Rum needed a premium brand and bottle to announce its arrival in the growing craft-rum sector. The pure, uncompromising character of the rum is reflected through the granite tor-inspired personality and identity. Since launch, sales have snowballed — so much so, that Black Tor are already looking to up production and add to their portfolio.

The bold serif capitals are set in Blacker from Zetafonts. FF DIN Condensed is used for most other information.

Source: www.johnsonbanks.co.uk License: All Rights Reserved.

Torbay is a borough in Devon, England, […] spanning the towns of Torquay, Paignton and Brixham, located around an east-facing natural harbour (Tor Bay) on the English Channel. A popular tourist destination with a tight conurbation of resort towns, Torbay’s sandy beaches, mild climate and recreational and leisure attractions have given rise to the nickname of the English Riviera. — Wikipedia

In 1982, British graphic designer John Gorham (1937–2001) was commissioned to devise a poster for the English Riviera. His solution presents a detail of the scenery in a carefully defined color palette, echoing the style of travel posters made in the second quarter of the 20th century. The composition here is boiled down to the absolute essence: a sandy stripe for the beach, separated by a thin white line of spume from a turquoise rectangle for the sea, underneath a gradient from white to deep blue for the sky — Rothko meets Albers. In the foreground: The silhouette of a stylized Torbay palm tree. Not only is it perfectly centered, its crown is drawn with symmetrical leaves — this is the English Riviera. The type is Gill Sans (what else?) set in three stacked and justified lines of caps from the Light weight (first issued in 1931), with the names of the three towns joined by middle dots. Johnson Banks’ blog post about John Gorham suggests that this work of his became quite influential:

His poster for the English Riviera unfortunately encouraged a whole generation of designers to pretend that they actually were 1930s poster artists.

For those interested in Gorham and his work, see also Mike Dempsey’s article about his “local hero”.

Gorham’s iconic poster spawned many variations and follow-ups. These were designed by David Hughes and others. Most of them maintained the combination of Gorham’s symmetrical palm tree and light Gill Sans. The website of the English Riviera Tourist Board used to have a dedicated page with a full list of the annual posters, from 1983 to 2004. Unfortunately the images are gone, but bloggers designatweeta and Torquay Palms reposted some of them. A selection is reproduced below.

Source: www.anatomised.com Anatomised. License: All Rights Reserved.

Pool, 1986. “One of several posters designed by David Hughes in this long-running campaign for The English Riviera.” — Anatomised

Source: designatweeta.wordpress.com License: All Rights Reserved.

Beach huts, 1988

Source: designatweeta.wordpress.com License: All Rights Reserved.

Teacup, 1990

Source: www.pinterest.de License: All Rights Reserved.

English Rose, 1991

Source: designatweeta.wordpress.com License: All Rights Reserved.

Snorkel, 1997

Source: designatweeta.wordpress.com License: All Rights Reserved.

Spring Breaks, 1992. From a series of seasonal ads featuring Bernhard Modern Bold Italic (ATF, 1938).

Source: designatweeta.wordpress.com License: All Rights Reserved.

Autumn Breaks, 1992

Source: designatweeta.wordpress.com License: All Rights Reserved.

Christmas Breaks, 1992

Source: designatweeta.wordpress.com License: All Rights Reserved.

English Spoken Here, 1993. The script is Ariston extrafett (Berthold, 1936).

Source: www.flickr.com Torquay Palms. License: CC BY-SA.

Little Differences, 1994

Source: designatweeta.wordpress.com License: All Rights Reserved.

Diving Board, 1995

Source: www.flickr.com License: CC BY-SA.

Camel, 1999. From a series of ads that showed John Gorham’s original poster in other places, from Egypt to Australia and Mars.

Source: www.flickr.com License: CC BY-SA.

Uluru, 2004

Source: www.englishrivierabid.co.uk License: All Rights Reserved.

The current version (2018) features a weaker, asymmetric palm tree (or is fireworks?) in red and blue. The type is still in Gill Sans caps, but now in two weights, paired with Arial Rounded Bold, set on a wave.

Source: www.flickr.com Jainbow. License: All Rights Reserved.

A variation of the original palm tree poster, spotted in 2012 outside Torquay Station.

The “T” in “The” isn’t part of the typeface — the unicase design of Disturbance uses lower-case for “T/t”.