Over in the Grasslands: On an African Savanna is a children’s picture book written by Marianne Berkes and illustrated by Jill Dubin. It was published by Dawn Publications in 2013.

The cover title is set in Rat Fink Heavy, a display typeface designed by Ken Barber at House Industries. The bold, irregular letterforms create an informal and playful tone that complements the illustrated savanna setting and wildlife theme.

Supporting text, including the subtitle and interior body copy, is added in Chaparral, a humanist serif typeface designed by Carol Twombly for Adobe. Chaparral’s moderate contrast, open counters, and balanced proportions support readability in extended text, making it well suited for children’s educational publishing.

The combination of an expressive display face for the title and a readable serif for continuous text reflects a common typographic approach in contemporary picture book design.

The same typefaces are also used by other books by Berkes and Dubin, like Over on a Desert: Somewhere in the World, Over on a Mountain, Somewhere in the World, Over in a River, Flowing Out to the Sea, Over in Australia, Amazing Animals Down Under, and Over in the Forest: Come and Take a Peek.

From Parks Project:

Alaska is the Last Frontier – wild, vast, and unlike anywhere else on Earth. This collection calls to Respect & Protect – to stand with a place that is fighting to stay wild. Together, we can help defend the Last Frontier and the voices rooted in it. […]  we’re raising funds to protect Alaska’s wild beauty and support the Native Conservancy – the first Native-led land trust in the U.S. working to safeguard ecosystems and strengthen Indigenous food sovereignty.

When a typeface called Woodland is used for the guidebook and visual identity of a forest (the New Forest is a national park), I believe that might qualify for an instance of LTypI. That said, I think the type works very well, and the illustrations that accompany Woodland in the branding add great character. According to Wikipedia:

The New Forest is one of the largest remaining tracts of unenclosed pasture land, heathland and forest in Southern England, covering southwest Hampshire and southeast Wiltshire. It was proclaimed a royal forest by William the Conqueror, featuring in the Domesday Book.

Born in 1945, Luis Siquot was a typographic designer and the proprietor of siquot'design in Córdoba, Argentina. In the 1990s and early 2000s, he released several of his typeface designs through ITC. This included Portago, a stencil sans with rough contours, Abaton, a shaded face in the spirit of engraved styles used on 19th-century banknotes and postage stamps, and Florinda, a gothic ornamented with knobs much like a wood typeface from the 1850s. Cali is a calligraphic script made with an Osmiroid pen specially designed for lefties like Siquot was.

His magnum opus arguably is the Juanita series. This design was dearest to his heart – at least Siquot chose to show a graphic with glyphs from its various styles on the homepage of his siquot'types. The typeface family was introduced in the Winter 1996 issue of U&lc magazine:

The idea for ITC Juanita took shape during a long international flight on which Argentinian-born designer Luis Siquot was “reading” a novel narrated only with woodcuts. ITC Juanita is actually a series of six typefaces which Siquot calls a personal reinterpretation of some designs that originated in the 1930s and ’40s and were still popular during his childhood in the 1950s. “For me, Juanita is like a toy—charming, expressive and also dramatic,” he says.

While designing ITC Juanita, Siquot took advantage of the digital tools that allow designers to apply color to different parts of a letterform. This series offers designers a range of variations based on similar structures, each with a unique twist.

In 2007, book designer Sandy Bell used it as the titling typeface for Africa. An Artist’s Safari by Fred Krakowiak. The horizontally hatched Juanita Xilo serves on the jacket and the cover, accompanied by House Industries’ Neutraface. The foil-stamped spine lettering and some of the big initials inside the book additionally feature Juanita’s plain style. The text typeface is Robert Slimbach’s Adobe Jenson.

Fellow Argentine type designer Ramiro Espinoza of Retype Foundry informed the community at typo.social that Luis Siquot passed away on June 1, 2025. Rest in peace.

Half-title page

This Sportsman’s Portfolio of Color-Etch Prints by illustrator and painter Fred Sweney (1912–1996) was created by the Brown & Bigelow Division of Standard Packaging Corp. and published by Chase Metals Service in Denver around 1960. The cover makes early use of Safari, an informal face with many alternate and interlocking letterforms issued by Headliners in their range of “naïve gothics”.

Bodkin is a seven-part dark comedy about an unfortunate true crime podcaster (Will Forte) and a Guardian journalist (Siobhán Cullen) who investigate the disappearance of three people in a small Irish town. It premiered on Netflix on May 9, 2024.

Navigo by CSTM Fonts is in charge of typography in the series’ title sequence, designed by Adrienne McGrane (who also happens to be the designer of The Green Knight).

Mandai embarked on a transformative project that would evolve them from one of the most respected zoos in the world, to a 300-acre reserve that encompasses five wildlife parks, an eco-resort, a nature foundation, and much more. Critically, they didn’t just need a brand that would cater to the breadth of their offerings, but one that also would amplify their position as a global champion for biodiversity.

To give Mandai a consistent voice that ties all its entities together, we commissioned a customised version of Value Serif from Colophon Foundry. A contemporary typeface that has a welcoming appeal, Mandai Value Serif combines a humanist warmth and openness with a classic sensibility that befits a zoological institution of Mandai’s calibre and level of commitment.

Celebrating its 110th anniversary, LPO (Ligue de Protection des Oiseaux, “Bird protection league”) has unveiled a new logo, a new visual territory, and a new exclusive typeface.

The puffin couple has been redrawn and the logo was rebalanced to maximize its readability. The new color palette brings natural, yet vivid colors, inspired by birds and their environment.

The custom typeface, LPO, was tailor-designed by Éric de Berranger. It incorporates cuts in its classic letters, for an organic, clear and legible alphabet, fitting for both title and paragraph.

Poster design by P+A / Showtime Creative

Yellowjackets is an American thriller drama about high school girls’ soccer players who try to survive after their plane crashes in the northern wilderness. The series premiered on Showtime on November 14, 2021.

The font used for the logo is Corner Store JF with some manual edits, including elongated descenders in j and Y, the latter forming an underscore. Corner Store is a handwriting font with strong vintage vibe, made by American artist and typeface designer Jason Walcott. It was released in 2007 by Jukebox Type.

The accompanying sans serifs are Showtime’s standard brand typefaces, Atyp and Antique Legacy.

Poster design by AV Print / Showtime Creative

Poster design by ARSONAL / Showtime Creative

Logo variants

Launched by the CANA Foundation, Generation Cana is —

a concept by an established conservationist who wants to popularise and inspire a new and diverse generation of Americans to fall in love with their natural landscapes and support rewilding – of their own worldviews, and of the lands they live on.

The Cana Foundation (CF) supports research, policy and action to support the wellbeing of horses and burros in North America, and the role they play in America’s iconic prairie and grassland ecosystems. With strong connections to first nations communities and the nexus of social justice and environmental issues, CF’s founder wanted to reach more people and inspire a new audience to take action in ways that went beyond specific policy solutions.

The graphic identity was designed by Studio Chenchen with a range of new logos to promote the foundation through various printed and digital media. Studio Chenchen comments:

The brand concept, Love Songs to America, is based on revitalising North American Romanticism.

Its visual language draws on iconic precedents in North American naturalism that we updated to reach modern, urban audiences. An internal brand manifesto was established to crystalise the brand’s purpose, tone of voice and personality, along with a set of illustrative templates, design applications, and targeted messaging to demonstrate how the brand can be applied to achieve the clients goals.

Logo version ft. Kerozene, Swear, and Copperplate Gothic

Logo version in Swear and Copperplate Gothic

Kerozene and Editorial New Italic

Playlist covers ft. Kerozene and Editorial New Italic

Manifesto featuring Swear, Sharp Sans, and an unidentified serif [edit: it’s Eiko, see comments].

Instagram template ft. Swear, Copperplate Gothic, and Mighty Slab

Longsleeves

Swear and Sharp Sans, with an unidentified serif for the URL

Studio DAD is a writing and design agency that builds brand identity systems, content, campaigns and experiences. DAD worked with the Oregon Zoo over the course of 13 months to create their first all-new identity in more than a quarter century. The rebrand supported a reimagined, conservation-focused mission and vision for the Zoo, embodied by a new tagline “Together for Wildlife.”

DAD worked with the internal marketing team to develop a fitting creative vision for the new identity: it should feel like part of the Northwest, it should inspire pride in the Zoo, and it should reflect the diversity of wildlife that calls it home. The logomark is built on a circular container shape, referencing the O in Oregon, and features animals iconic not only to the Zoo, but to the Northwest. A scalable patterned icon system represents the diversity found at the Zoo while celebrating the flora and fauna of the region. The wordmark is set in Exchange. The tagline pairs Exchange with GT Walsheim.

This live album presents performances recorded at the Montreux Jazz Festival in the Casino De Montreux in Switzerland on June 17, 1971.

The illustration and design are by Terry Lamb. The title and artist are set in Premier Shaded, while the back cover uses a combination of Arnold Böcklin and an unidentified slab serif that’s similar to but lighter than Egyptienne Bold Condensed [edit: it’s Craw Clarendon Condensed, see comments].

[More info at Discogs]

Source: www.abebooks.com Rare Book Cellar. License: All Rights Reserved.

ITC Ronda Light (1970) featuring a t with (custom?) extra-long tail, the forward-leaning s/S, and round alternates for A, N, and w.

In Naturalist in the Sudan, British entomologist Charles Sweeney (1922–1979) explores the geography and wildlife of the region Darfur and Bahr el Ghazal. Originally published in Great Britain in 1973 as Background of Baobabs, this is the frst US edition by Taplinger from 1974.

Source: www.abebooks.com Rare Book Cellar. License: All Rights Reserved.

The children’s book Living with Lions was initiated by PAMS Foundation, a wildlife conservation non-profit with a mission to empower the people who protect wildlife and wild places. The story was written by PAM collaborator Tania Paschen. Until Sunday illustrated and designed the book, using Fictional for throughout the book. The cover typography is set in HVD Poster.

The book was successfully launched in June 2022 and shared among Tanzania’s schools and educational centers. Written in both Swahili and English, the book will also be distributed outside Tanzania, to promote and support the PAMS Foundation’s mission.

Discovered Wildfoods are on a mission to bring ethically harvested wild game meats to popularity in Australia. Morion is used throughout the branding, supported by Questa Sans. The website, designed by Nightjar, has won the following awards: FWA Of The Day, AWWWARDS Site Of The Day, Sydney Design Awards Silver 2021, AWWWARDS Creative Website Footers.

Wildpark Bad Mergentheim is a wildlife park in the Main-Tauber-Kreis, Germany. Since 2007, design agency ps:ag from nearby Lauda-Königshofen is in charge of the visual identity. The logo typeface is Maiandra. Designed by Dennis Pasternak and released by Galapagos in 1994,

the Maiandra family of typefaces was inspired by an early example of Oswald Cooper’s hand lettering as seen in an advertisement for a book on home furnishing, circa 1909. Although many of Oz Cooper’s letterform designs were cast in metal type, this particular one was not.

Cooper’s design itself was inspired by examples of letterforms he had admired in his study of Greek epigraphy (inscriptions). Cooper combined those ancient forms with the flair characteristic of design styles of his time. The result was an attractive design possessing subtle, purposeful irregularities, or ‘meanders,’ in his skilled brushwork.

In this application, Maiandra’s organic quality is a good match for the general theme – its W almost looks like antlers – and the park’s declared sustainable approach. The handmade impression of the letterforms is echoed in the sign posts made from untreated wood. If you look closely, you can spot a subtle intervention that further reduces straight lines and rectangularity: in “Wildpark”, the caps were made gradually smaller toward the middle of the word.

Maiandra is supported by Agendatype. This sturdy dynamic serif was designed by Natascha Dell and Kai Oetzbach and released on their Fontfarm label in 2006. The family comprises two weights in roman and italic, with additional Swash Italic styles as well as small caps.

Miscellaneous printed matter featuring Agendatype Swash Italic for headings

Leaflets and booklets

Menu set in Agendatype Regular and Bold, with Swash Italic styles for the heading

Van featuring the logo in Maiandra and the slogan (“See and experience animals”) in Agendatype Swash Italic

Poster for a exhibition with wildlife photography by Didier and Till Clémence, shown at Brasserie de L’Avenir, La Chaux-de-Fonds.

The fonts in use are Portland Grotesk by Raphael Picard and Nort Mono by Raphael Picard and Julien Métille, both from Quadraat.

Jacket (front)

This book jacket for The Living Forest features a script that pairs beautifully with the soft and yet also precise water colors of Rien Poortvliet that tell the story of the animals of a forest somewhere in the Netherlands. It probably betrays the fact that it was created in the late 1970s, or perhaps it is just thin enough not to pin it down.

Side note: Rien Poortvliet is best known for his illustrations for Gnomes, which features all hand lettering.

You can flip through the whole book on the Internet Archive!

Title page. Like on the jacket, Vivaldi is paired with caps from Torino.

Introduction. The text is set ragged right, in Bauer Bodoni.

The Fox

The Wild Boar

Detail from the inner flap. The text in Bauer Bodoni is introduced by a drop cap from Vivaldi.

One-sheet advance poster (27″×40″) with art by Drew Struzan

Chris Costello’s Papyrus is used for the logo of The Crocodile Hunter: Collision Course. The lockup features a taller T and a wider C. Similar forms are included in the font as alternates, but those aren’t a perfect match. Furthermore, the H was lowered. Papyrus is combined with Helvetica Compressed for “Collision Course”. The poster typography additionally features Compacta Black.

From Wikipedia:

The Crocodile Hunter: Collision Course is a 2002 adventure comedy film based on the nature documentary television series The Crocodile Hunter. It stars the late Steve Irwin and his wife Terri Irwin and was directed by frequent Irwin collaborator John Stainton. The film was released in between the fourth and fifth seasons of the series. Collision Course follows Steve and Terri who attempt to save a crocodile from “poachers” not knowing that the two men are actually American Central Intelligence Agency (CIA) agents who are after them because the crocodile in the Irwins’ possession has accidentally swallowed an important satellite tracking beacon.

Watch the trailer on YouTube.

Adaptation in landscape format

Logo as seen in trailer, here with Papyrus and Compacta Light

2019 edition of The Hidden World of the Fox by British naturalist Adele Brand, published by William Collins (UK). Book jacket design by Jo Walker, using all-caps Lydian in a center-aligned setting. Adobe Caslon’s Italic was picked for the blurb.