TT Commons Pro was used as the brand font for the Bell English Language School (Cambridge, UK). Established in 1955, the school was not destined to last long after its 70th anniversary and rebranding and closed doors for good in October 2025.

A paperback collection of articles written by travel journalist Bill Powell between 1990 and 2003 for The Observer, The Guardian, and The Telegraph. Published by Esquival Press, designed by Dale Tomlinson and typeset in Ravenscar Text for body copy and Ravenscar Fine for chapter titles. The title on the cover is in LTR Principia.

Ravenscar Fine

Ravenscar Text Regular and Italic

Ravenscar Fine with Ravenscar Text

The University of Cambridge uses Feijoa and Open Sans for their branding as seen on these booklet and pamphlets announcing the many programmes slated for October–December 2025 and organised by the Centre for Music Performance.

Plenty of all-uppercase usage of Feijoa dresses the booklet with Open Sans taking care of most of the body text. The pamphlets use Feijoa in sentence case though, again along with Open Sans, although some of the leading choices might be worth a second look.

The designers are unknown. It is highly likely that design was handled by Reprographics in-house at Cambridge, and/or through a third-party agency.

Leaflet for an exhibition at David Parr House presenting the prints of Tadek Beutlich (1922–2011), one of the most important and experimental textile artists of the post-war era.

Sphere Bio is a Cambridge-based life sciences R&D company that specializes in biopharmaceutical discovery and development, cell therapy engineering, bioproduction and synthetic biology, analysis and isolation.

The new brand identity features luminous green and dark green as its signature colors, paired with JAF Domus as the corporate font. The logo is based on Henriette. Open Sans and Source Serif are used for body and UI text.

Between 1973 and 1975, Ken Garland & Associates designed a series of books for Cambridge University Press, using Bembo as the primary cover typeface.

The Press proposed to embark on a considerable expansion of their publications relating to the teaching of English as a foreign language. We were commissioned to devise a distinctive style for book covers, tape cassettes and boxes, and publicity material, as well as the design of the books themselves.

The new edition of English Pronunciation Illustrated by linguist John Trim was made together with illustrator Peter Kneebone. The front cover is mirrored on the back, with all text including the publisher’s name shown in an International Phonetic Alphabet (IPA) font based on Gill Sans.

Today Adrian Shaughnessy announced that Ken Garland has died. In memory of the influential British graphic designer, Unit Books have made their monograph on his work available for free. I wholeheartedly recommend to get your hands on the pdf if you haven’t read the book already. Some of the typographic works by his studio can also be seen on Fonts In Use.

Visual identity designed by Denis Kovac for Immune Regulation, a clinical stage biotech company, pioneering new technologies for resetting the immune system, developing novel, first-in-class therapies for inflammatory and immunological diseases.

Lausanne by Nizar Kazan is used throughout.

Brief consisted of short question-based books, written by top thinkers in the field of contemporary political economy. The books were to be published in a small format and read in a single sitting by a wide general audience of readers. Typography should be simple and easy to read. Design should accommodate legible titles with very variable lengths and, since authors are well-known, their name should be clearly visible. Design had to be easily extended and create a consistent style throughout the whole series.

The solution: A fixed set of bright vivid contrasted colours, bold straightforward typography — Grotzec Condensed by Mário Feliciano — resulting in a contemporary “for all” pop style that could appeal to the wider audience the publisher was aiming at. Additionally a visual twist by highlighting parts of the full title and thus creating a second/follow up question, which almost always works as a reinforcement of the initial one, generates visual curiosity and renders the books less formal and intimidating.
— FBA.design

Polity is a leading international publisher in the social sciences and humanities fields, with offices in Cambridge and Oxford in the UK and Boston in the US. This work was awarded a Certificate of Excellence by Communication Arts.

An acute accent is used instead of the actual apostrophe. The book cover shown in the first image of this post shows a straight apostrophe. Neither is the typographically correct form which typically looks like a raised comma. In Unicode, the proper apostrophe unfortunately shares a codepoint with the (English) “Right Single Quotation Mark” for historical reasons.

Loose cover

The Ruskin Songbook was commissioned to celebrate the 25th anniversary of Anglia Ruskin University. The songbook contains 15 new compositions inspired by the writings of John Ruskin. The book uses Kingfisher as the main text face with Bliss for titles and information panels. Edited by Paul Jackson and Jane Boyer.

Detail of foil-blocked title on board cover

Contents page set in Bliss

Back cover

Univers was still a relatively recent addition to the typographic palette in the UK in 1967. This book was first published in a paperback edition during that year; as a text, it is much older … the first hardcover edition was published in 1910. Patrica Davey is credited on the book’s back cover as being the cover’s designer. Presumably, she designed this cover in 1967 for the paperback’s publication.

Interestingly enough, the text on the cover’s bottom portion, below the illustration, is all in Gill Sans. This must have been part of a paperback series in which all such text was set in Gill. Still, one wonders why Davey and CUP even bothered to set the upper text in Univers at all. Wouldn’t an all-Gill cover have been more unified, design-wise? Also, Gill’s personal views of family, life, and religion were all positively medieval. As such Gill Sans seems to be much more appropriate to the subject matter (and alas, the illustration) than Frutiger’s forward-looking Univers typeface.

The Apocalypedia. A utopian guide to what is and what isn’t is a subversive comic-philosophic dictionary of apocalyptic optimism and strange beauty.

Absolute Photo, the UK’s first monthly iPad-only photography magazine was packed with interactive features, video and audio and needed a font set that reflected all of that. The combination of the contemporary Solano Gothic with the Stencil version complemented the gear/product features, while Austin worked perfectly alongside the lifestyle features.

A groundbreaking new launch in the Formula One sector. This monthly magazine uses the serif typeface Austin to give a high-end, classic feel. Alongside Austin, the condensed MVB Solano Gothic, ITC Avant Garde and Farnham were also incorporated.

“Specimen pamphlet of handmade paper printed on the original Kelmscott Press. Watermarked with the three leaves and flowers between W and M. of William Morris, dated approximately 1890–91.” — Wayside Mews Collectables

From the specimen:

This paper … is probably some of the last made for the Kelmscott Press, founded by William Morris and hand made paper of Joseph Batchelor and Sons, at Little Chart in Kent. … The type used is Kelmscott Troy, cast from the original matrices, and this specimen has been printed on a Victoria platen press at the Rampant Lions Press, Cambridge, 1974.

In 2001, Richard Kegler of P22 has created a set of digital typefaces based on Morris’ work, including Morris Troy.

From the collection of To Have and To Hold. The age of this bag is not noted, but I would guess it was the 1970s or 1980s. The Futura is likely a photocompositor version with a unique ampersand, or more likely one that was drawn specifically for the logo.

Bowes & Bowes was a bookselling and publishing company based in Cambridge, England. The firm continued as a family business until 1953 when it was acquired by W H Smith, who continued to operate it under the original name until 1986. In that year the business’s name was changed to Sherratt & Hughes. — Wikipedia