This anthology of over a hundred poems was edited by Phyllis McGinley (1905–1978), an American author of children’s books and poetry who won a Pulitzer Prize in 1961.

Muriel Nasser designed the book jacket for the first edition by J.B. Lippincott & Co. For the typography, she chose West Cooper Nouveau Swash 10, the bold italic weight of Dave West’s typeface family inspired by Cooper Black.

Several of the letterforms don’t match those in other in-use examples. The S appears to be an enlarged and stretched lowercase form, and the M doesn’t have a descending swash (cf. the album cover to A Message To The Nation). Also compare the P to the one on the Raw Pearl cover and the G to the Gordon Lightfoot cover. And it goes on: c and r have less distinctive terminals, the i dot is smaller, and the y looks different as well. Some of these differences might be explained by the presence of alternates – I haven’t seen a full a glyph set for this typeface style – but I tend to think we’re looking at a case of “lettering derived from typeface”.

Las is a new vegan restaurant in Łódź, Poland, a place where plant-based plates reign. It's seasonal, local and natural.

The brand identity for Las was designed by PALL studio (Anc Ciechanowicz and Piotr Lipowicz) with a heavy emphasis on playful typography, illustration and color. Together the illustrations and type form the logo; a combination of the letter L and an illustration of a fox. This continues with the forest animal themed illustrations combined with typography on the menus, advertisements and other branding like the stickers for the take-away bags.

Norekk was designed by Gabriel Klančar out of a desire for something fresh and playful. The letterforms are dynamic, monospaced, and expressive, all designed within a rigid grid. The typeface explores notches, light transitions, and asymmetry throughout the design.

Photography by Studio KUSZ.

Pearl S. Buck (1892–1973) was the first American woman to win the Nobel Prize in Literature. Her vast œuvre also includes about twenty books for children. The Little Fox in the Middle is one of the later ones, published in 1966 by Collier Books, with illustrations by Robert Jones. The jacket typography brings two typefaces that both originated in 1950s Germany: the title is in Georg Trump’s Codex (1954), the credits in Hermann Zapf’s Palatino with italic (1950).

Sant’Or is the first certified biodynamic winery in Greece. As this is an important advantage of the winery, Kommigraphics were assigned the redesign of the winery’s labels, with the aim of enhancing the biodynamic and vegan nature of the different wines it produces.

The design of the labels refers to the fauna of the area Santameri in Achaea, which is where the Sant’Or winery is located. Through an abstract and at the same time archaic-ish design of the illustrated animals and insects, they aimed at the emotional and direct connection of the consumer with the product and consequently with the winery.

The logotype is set in Cako. The accompanying sans appears to be GT America Expanded.

Gordita is used for the design studio’s presentation, but is not part of the winery’s identity.

A marvellous trade brochure issued by the well known Samuel Fox & Co. Ltd. of Stocksbridge, Sheffield, and detailing their range of “Red Fox” heat resistance steels; these were available in various grades such as Austenitic, Martensitic and Ferritic and various forms and finishes including sheet, strip, bar and wire.

The brochure is interesting in that it was issued in 1944, printed at Percy Lund Humphries in Bradford, and is an unusual example of complex high quality colour printing in wartime. The designer is Henri Kay Henrion. Henrion (1914–1990) was another of the German born emigré designers who moved to the UK in the 1930s. In the early years of WW2 he was interned as an ‘enemy alien’ but as can be seen he was working; famously, for the British war effort. Henrion designed much of the “Dig for Britain” campaign run by the Ministry of Information. In post-war years he became art director at the influential Contact Books before in 1951 setting up his own design studios. He had numerous commercial clients and as well as teaching became a noted exhibition designer.

As well as the red fox dominating the cover, the motif is repeated across all pages of the brochure. Judging from the small inconsistencies, at least the two big lines are probably drawn be hand, but closely following the designs of Thorne Shaded and Marina Script. The former originated at Robert Thorne’s Fann Street Foundry in London around 1810 and was revived in 1938 by Stephenson Blake in Sheffield – located just a few miles south of the steel mill. The latter is a Stephenson Blake original, first cast in 1936.

Samuel Fox & Co. Ltd. had been a part of the United Steel Companies since its formation in 1918. Their origins were as wire drawers in 1842 and they turned to the manufacturing of their own steel in time becoming famous for their steel umbrella frames – the mark of a “Fox’s Frame” was for decades the sign of one of the best you could buy. Their works at Stocksbridge became a home to many highly specialised steels and after many changes in ownership and structure the site in South Yorkshire still produces specialist steels. Sadly the manufacture of Fox’s Frames ceased in 1970.

The brand identity of Fore-té Club Attire was designed by Laura Santi at EightySeven:

Fore-té Club Attire is a lifestyle brand that’s reimagining club sports attire for the modern woman. In a world where it’s typical for only a small corner of the pro shop to be reserved for women’s apparel and equipment, founders Andrea and Sean Houlihan saw the need for a fashionable, functional label that put ladies first. […]

Fore-té is designed to disrupt the space by altering women’s expectations for what club fashion can be. They needed a brand experience that could fuse classic form with modern function to appeal to and empower both casual and competitive women to own their style in any club sport setting. […]

Fore-té’s diverse logo suite was built for utility in the fashion space. Its versatile typographic family balances classic and contemporary while maintaining legibility across mediums. Its warm, elegant palette with touches of cooler, natural hues and vibrant pops of color for that energetic flair. Its geometric accent patterns inspired golf course geography. And its actionable tagline, “Play to your strength,” that inspires with a bold, yet approachable brand voice.

The new additional logos are set in ALT Maria Clara. When used on their site, Maria Clara is supported by Aktiv Grotesk Extended.

Plastic with Audio is a 2005 album by Lapfox Trax, a music producer known for their numerous aliases, including Renard, whose species is a fox-raccoon or foxcoon.

Much of the front cover contrasts caps from Nate Pieko’s oblique classic Bada Boom with a much rarer face for “presents…”: it’s Springmaus Bold, the Diddl font, or maybe Data Becker’s copy named Branching Mouse. Its original creator appears to be unknown.

Breathing new life into the iconic British (clothing) brand while embracing the label’s rich legacy. Taking them from re-launch, to re-name and beyond. Dropping the “& Wills” from the name allowed us to clean up the wordmark and laid the foundations to develop a flexible grid system. The recognisable Aubin fox also required an update. Redrawing and removing the clutter to form a clearer motif that works better at smaller sizes.

Holding strong to their original brand values of slow fashion we developed the single minded proposition of “Better Is Greater Than More”. This informed the launch campaign championing British pioneers with a focus on quality and the environment.

Identity exclusively uses Gill Sans.

F37 Bobby by F37 Foundry in use by Supple Studio for the Fox Meets Owl identity. Words from Supple Studio's Instagram feed:

Anna Lueneburger is a business coach with a global network of vetted coaches to call on. She has vast experience working with business leaders and board-level execs to help make them better leaders.

Our solution was a name and identity that bucks against the usual business coaching clichés. The name Fox meets Owl was devised to reflect the attributes of a great leader - the tenacity and emotional intelligence of the fox paired with the strategic and analytical intelligence of the owl. With the name agreed we created a memorable logo that combines both the fox and owl in a deft sleight of hand.
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Copywriting - Jim K Davies
Site build - Neal Fletcher

On the website, F37 Bobby is paired with Noto Sans.

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.

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.

Activision's 2017 reboot of the popular Crash Bandicoot video game series from the 1990s and 2000s uses Zoinks and Geek Speak for the packaging, website and in-game graphics.

Crash N-Sane Trilogy PS4 packaging.

Crash Team Racing promotional trailer.

Crash Team Racing gameplay.

A fox’s quest to search for food, turns out to be a life-changing lesson in how to be good. Follow the mischievous Fox in his journey and enjoy reading about his many encounters with his virtuous neighbours that do not only speak, but love to rhyme. — Amazon

Title based on Aller Display, subtitle set in Savoye, author credits in Futura (softcover) and Myriad (hardcover). Blurb on the back uses Delius.

Alternate cover.

Lilidoo, a startup to pamper baby's bottoms with skin-friendly, perfume-free and comfortable diapers uses semi-slab Museo for its logo and large headlines, combined with a clean sans – Cera – for everything else.

In order to show that the diapers are a premium brand, the diapers packaging uses a lot of print enhancements: printed on chromo carton with spot colors, refined with dispersion coating and embossing.

Animal and hunting stories by Hermann Löns. With pen drawings by Friedrich Hauchecorne. Issue 67 in the Kranz-Bücherei series, published by Verlag Moritz Diesterweg in 1928. The cover typeface is Rudolf Koch’s Maximilian.

The title page is set in two or more yet unidentified Fraktur typefaces. The title might be in Leibniz-Fraktur, the smaller lines look like a version of Breitkopf-Fraktur.

Illustrated children poster with Scandinavian mammals by Ingela P. Arrhenius.

Monotype’s Modern Twenty is not identical with Bitstream’s (Stephenson Blake) Modern No. 20.

As seen on Tenth Letter of the Alphabet.

From a short article on the ad campaign in the June, 1975, issue of U&lc (hi-res PDF here):

“Helmut, I called to ask a favor. Can you send me the proofs of your Audi ads? I want to write an article in U&lc on how Avant Garde Gothic should be used. From what I've seen around, I'm sure I can fill a volume on how it shouldn't be used. I often wonder whether the world wouldn't be a better place to live in without Avant Garde Gothic. But then, you come up with these beautifully designed Audi ads and it gives me renewed confidence in my ability as a type designer. I wish more people would show your kind of concern and understanding of type:”
“Well thanks for the kind words, Herb, I'll send the stuff right over:”
“Thanks, Helmut. And maybe you can write a few words about your ads. See you:”

A bit from Krone’s blurb about his ads:

My obsession with typography adds at least 20% to the production time of an ad. Why do I do it, I've wondered. And now, finally, I know. To get a call from Herb Lubalin telling me he's noticed my typography. That's why.