Surgery on Sunday is Kat Harrison’s debut picture book, illustrated by Shane Crampton and published by Warren Publishing in 2021. The story follows Sunday, a child with a vivid imagination, as she prepares for ear surgery with the help of her stuffed octopus and supportive family. The book balances humor and reassurance, aiming to ease children’s anxieties about medical procedures.

The typography plays a central role in shaping the book’s approachable tone. The title and promotional lines are set in Spumoni LP, whose rounded, playful forms echo the illustrations’ cheerful energy. A decorative flourish appears in the oversized green S rendered in Baby Giovani Script, adding a whimsical accent that highlights the character’s name. The back cover text, including the synopsis, author biography, and pricing, is composed in Bembo Infant, chosen for its readability and softened serifs that make the narrative approachable for both children and parents.

This “little book of manners” for toddlers was written and illustrated by Karen Katz. First published in 2002, it was reissued in 2011, with different fonts.

The shown edition has the title in Spumoni LP. This bouncy take on a bold Bodoni is Garrett Boge’s 1990 revival of Free Roman, an alphabet drawn by Ross F. George and included in the 1952 edition of the Speedball Text Book. It’s paired with tracked out Triplex Sans. The fonts inside the yellow circle are FF Sunday and Sunday Best Solid Oblique.

From Penguin Random House:

“Please” and “thank you” are fun and easy to remember with Excuse Me!. Simple and repetitive, it’s the perfect way to introduce those magic words that all little ones should know. From burping to breaking a sibling’s toy, toddlers will love seeing these appealing babies in situations they know all about, and they’ll have fun lifting the flaps to discover the right words to say—“Excuse me!” and “I’m sorry!”

Russian Post logo with the double-headed eagle of the Russian coat of arms

The logo of Russian Post (Почта России) is based on Roslyn Gothic. It is used to design advertising branches, stickers, and brand logistics vehicles. It’s unclear who designed the logo. It was probably introduced in 2002, when the current company was established, and was definitely in use in 2003.

The logo of the affiliated Post Bank (Почта Банк) is based on Roslyn Gothic, too.

Square version of the Post Bank logo

An illuminated sign with the logos of both Russian Post and Post Bank, seen in 2019

A Kamaz K5 postal truck

A GAZelle post delivery truck, photographed in November 2020

Post Bank sign in an office in Moscow, 2016

Post office in Sochi, Krasnodar Krai, in 2015

Post office in Yakutsk, Siberia, documented in 2008

The Russian Post logo on a Tupolev 204S, spotted in 2017

H2O: Just Add Water was popular Australian kids show about three teenage girls who happen to turn into mermaids when they touch water. The TV show received international recognition and ran for three seasons from 2006 to 2010.

The main logo of the show was custom made specifically for the show, it isn’t a typeface. The “Just Add Water” part was changed for merchandise and promotional purposes and it appears to be set in Wendy. Title sequences were designed with Skippy Sharp for the cast names and VAG Rounded for the production credits and also all end credits.

Promotional material set in Wendy

Title sequence from the third season, with credits set in Skippy Sharp

End credits from the third season set in VAG Rounded

First paperback edition of Tanith Lee’s The Silver Metal Lover from 1982, originally published in hardback the year before. Together with Metallic Love from 2005, it forms the S.I.L.V.E.R. series. Lee intended to continue it with a third novel, The Tin Man, but didn’t get to publish it before her death in 2015.

What better way to translate the title to a mass market paperback cover than with embossed metallic letters? The effect is hard to capture in flat scans or photos, that’s why I’m including two different images. The fonts in use are two weights from Roslyn Gothic, in all caps.

The cover art is by Don Maitz.

[More info on ISFDB]

Source: www.flickr.com Uploaded to Flickr by  citizen3xx24j. License: All Rights Reserved.

Now Wait for Last Year (1975). Cover art by Chris Foss. [More info on ISFDB]

Roslyn Gothic arguably saw its most extensive and iconic use on the paperback covers with works by Philip K. Dick as published by Panther Books.

Designed by Harry Winters, Roslyn Gothic was released by Visual Graphics Corporation (VGC) in 1972, to be used with their Photo Typositor, a popular display typesetting machine of the phototype era. There were three styles; Medium, Bold, and Outline. The sans serif of condensed proportions is infused with some traits that seem to harken back to Art Nouveau, or Jugendstil: counters in d, g, or p are tear-shaped, e has a diagonal bar while the top arm of K is vertical, some stems in m, n, u are slightly curved, A is asymmetrical, and G is pointed at the bottom. Several of these features can also be found in German typefaces from around 1900, like Sezessions-Grotesk or Skulptur. By giving his design a large x-height and tight letterspacing, Winters turned these influences into a quintessential 1970s display typeface. With its punchy yet slightly alien-looking shapes, Roslyn Gothic became a popular choice on book covers in the science fiction genre.

Source: www.marksimonson.com Scan courtesy of Mark Simonson. License: All Rights Reserved.

Roslyn Gothic and its designer, Harry Winters, as shown in Industrial Art Methods, December 1972. Roslyn Gothic isn’t yet shown in a VGC catalog dated 1972, indicating it must have been new when the magazine came out.

As it was common with other publishers, too, Panther didn’t use a single typeface for all of their science fiction releases, but rather assigned a certain typeface to each author, building multiple sub-identities to increase their recognizability: Kabel Black for Asimov, City for Ursula K. LeGuin, American Uncial for Brian W. Aldiss, etc. The face chosen for Philip K. Dick was Roslyn Gothic Bold. The first of Dick’s paperbacks with Roslyn Gothic on the cover were issued in 1975. This choice was maintained at least until 1992.

Established in 1952, Panther Books Ltd. was a British publisher specializing in paperback fiction. By 1968, it had been acquired by Granada Group Ltd., making it a subsidiary company of Granada Publishing Ltd., and Panther Science Fiction a Granada imprint. Some of the shown books were published under other Granada imprints, including Triad Panther, or Grafton.

Source: www.flickr.com Uploaded to Flickr by  citizen3xx24j. License: All Rights Reserved.

The Zap Gun (1975). Cover art by Peter Andrew Jones. [More info on ISFDB]

The typeface used for “Hugo Award-winning author” between 1975 and 1980 is a version of News Gothic Condensed. It sometimes appears with the standard double-storey g, sometimes with a single-storey form, and occasionally with both, in changing positions. I wonder whether this was some sort of running gag among the typesetters.

In 1990, Garrett Boge of LetterPerfect digitized the boldest weight as Roslyn Gothic LP Bold. Mecanorma’s digital version, Roslyn, covers all three styles. Released by Red Rooster in 2010, Ryder Gothic is a reinterpretation by Steve Jackaman and Ashley Muir that adds a new light weight and several alternate glyphs. [There’s a fourth digitization by Panache Graphics, see comments.]

Photo: Florian Hardwig. License: CC BY-NC-SA.

Three digital revivals of Roslyn Gothic Bold. From top to bottom:
1. Roslyn Gothic LP Regular (LetterPerfect, 1990)
2. Roslyn MN Bold (ITF Mecanorma)
3. Ryder Gothic Pro Bold (Red Rooster, 2010)

Source: www.flickr.com Uploaded to Flickr by Øyvind. License: All Rights Reserved.

Clans of the Alphane Moon (1975). Cover art by Peter Andrew Jones. [More info on ISFDB]

Source: www.flickr.com Uploaded to Flickr by Øyvind. License: All Rights Reserved.

Flow My Tears, the Policeman Said (1976). Cover art by Richard Clifton-Dey. [More info on ISFDB]

Source: www.flickr.com Uploaded to Flickr by Øyvind. License: All Rights Reserved.

Our Friends from Frolix 8 (1976). Cover art by Jim Burns. [More info on ISFDB]

Source: www.flickr.com Svenn Sivertssen. License: CC BY-NC.

Do Androids Dream of Electric Sheep? (1977). Cover art by Peter Goodfellow. [More info on ISFDB]

Source: www.flickr.com Uploaded to Flickr by citizen3xx24j. License: All Rights Reserved.

A Scanner Darkly (1978). [More info on ISFDB] The Brian Aldiss quote is set in Impact.

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

Ubik (1978). Cover art by Ian Robertson. [More info on ISFDB]

Source: www.flickr.com Uploaded to Flickr by  citizen3xx24j. License: All Rights Reserved.

The Three Stigmata of Palmer Eldritch (1978). Cover art by Peter Gudynas. [More info on ISFDB]

Source: www.flickr.com Uploaded to Flickr by  citizen3xx24j. License: All Rights Reserved.

The Penultimate Truth, 1978. Cover art by Peter Goodfellow. [More info on ISFDB]

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

A Handful of Darkness (1980). Cover art by Colin Hay. [More info on ISFDB]

Source: www.flickr.com Uploaded to Flickr by citizen3xx24j. License: All Rights Reserved.

Martian Time Slip (1983). Cover art by by Gerry Grace. [More info on ISFDB]

Source: www.flickr.com Uploaded to Flickr by  citizen3xx24j. License: All Rights Reserved.

The Transmigration of Timothy Archer (1983). Cover art by by George Underwood. [More info on ISFDB]

The secondary typeface here is all-caps Franklin Gothic.

Source: www.flickr.com Uploaded to Flickr by  citizen3xx24j. License: All Rights Reserved.

Lies, Inc. (1985). Cover art by Trevor Webb. [More info on ISFDB]

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

A Maze of Death (1984). Cover art by Tim Gill. [More info on ISFDB]

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

A Scanner Darkly (1985). Cover art by Trevor Webb. [More info on ISFDB]

Source: www.flickr.com Uploaded to Flickr by Øyvind. License: All Rights Reserved.

We Can Build You (1986, reprinted 1988). Cover art by Chris Foss. [More info on ISFDB]

Source: thesefantasticworlds.com These Fantastic Worlds. License: All Rights Reserved.

Galactic Pot-Healer (1987). Cover art by by Gino D’Achille. [More info on ISFDB]

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

The Preserving Machine (1987). Cover art by Chris Foss. [More info on ISFDB]

Source: www.flickr.com Uploaded to Flickr by  citizen3xx24j. License: All Rights Reserved.

Radio Free Albemuth (1988). Cover art by Tony Roberts. [More info on ISFDB]

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

I Hope I Shall Arrive Soon (1988). Cover art by Chris Foss. [More info on ISFDB]

Source: www.isfdb.org License: All Rights Reserved.

The Divine Invasion (1989). Cover art by Chris Foss. [More info on ISFDB]

Source: www.isfdb.org License: All Rights Reserved.

Valis (1992). Cover art by Chris Moore. [More info on ISFDB]

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

Counter-Clock World (1990). Cover art by Chris Moore. [More info on ISFDB]

Source: rhubarbbomb.blogspot.com Rhubarb Bomb. License: All Rights Reserved.

The Game-Players Of Titan (1991). Cover art by Chris Moore. [More info on ISFDB]

Source: www.carousell.com.my License: All Rights Reserved.

The Three Stigmata of Palmer Eldritch (1992). Cover art by Chris Moore. [More info on ISFDB]

Beyond the Galactic Lens (Cap Kennedy #16, 1975). Cover art by Eddie Jones. [More info on ISFDB]

Kern – Beyond the Galactic Lens is not an instruction for spaced out type designers, but rather a novel by British writer of science fiction, fantasy and western novels, E.C. Tubb (1919–2010), written under one of his whopping 58 pen names, Gregory Kern. It was published in 1975 by DAW Books as the 16th volume in the Cap Kennedy series, with cover typography in all-caps Roslyn Gothic.

The concluding 17th volume, The Galactiad, followed in 1983, again with Roslyn Gothic on the cover. The display typeface by Harry Winters had previously made an appearance on Seetee Alert! (Cap Kennedy #6) from March 1974, there in both weights, but wasn’t used for any other books from the series.

The Galactiad (Cap Kennedy #17, 1983). Cover art by Wayne Barlowe. [More info on ISFDB]

Seetee Alert! (Cap Kennedy #6, 1974). Cover art by Jack Gaughan. [More info on ISFDB] The secondary typefaces are unidentified.

Roslyn Gothic and Futura for the paperback cover of The Day the Gods Died, Corgi’s English translation of Der Tag an dem die Götter starben. The novel was written by German science fiction and fantasy author Walter Ernsting (1920–2005) who mainly published under the pseudonym Clark Darlton. The book opens with a letter from Swiss ufologist Erich von Däniken to the author.

Cover art by Peter Tybus, featuring Mesoamerican-looking pyramids.

[More info on ISFDB]

When DAW Books published the first US edition of Michael G. Coney’s science fiction novel Hello Summer, Goodbye, they changed the title to Rax (“Rax” is the name of the cold, giant planet which perturbs the orbit of the home world of Alika-Drove, the novel’s protagonist.) They stuck with the cover typeface, though: Just like for the first edition by Gollancz, it is Roslyn Gothic Bold. Here the display typeface by Harry Winters is used in all caps, in two stacked and justified lines. Theodore Sturgeon’s blurb is set in News Gothic.

The art was provided by Josh Kirby. On Stranger than SF, the reviewer comments:

The cover art for the DAW paperback is well done, but doesn’t reflect the story. It makes me think “tragic fantasy quest” not “poignant coming-of-age science fiction apocalypse.” I almost didn't read it. I’m glad I did.

[More info on ISFDB]

First edition by Victor Gollancz, London (1975). [More info on ISFDB]

Released by the Visual Graphics Corporation (VGC) in 1972, Roslyn Gothic became fairly popular by the mid 1970s. The sans serif with some Art Nouveau-like elements was a frequent choice for books in the science fiction genre.

In 1975, Roslyn Gothic Bold was selected for the dust jacket of Michael G. Coney’s new novel. Then already known as the author of Mirror Image (his debut novel from 1972) and Winter’s Children (1974), Hello Summer, Goodbye became one of the best and most representative works by the British science fiction writer.

The first edition by Victor Gollancz features a purely typographic design printed in red and orange on yellow. Roslyn Gothic is paired with Helvetica. The publisher’s logo is in Univers, with the “SF” series logo in caps from Grotesque No. 9. Readers Union’s book club edition has the same typographic lockup, in purple letters on white, amended with an image showing solar prominences.

Edition by Readers Union/Science Fiction Book Club (1976). [More info on ISFDB]

Emmanuel N'Djoké “Manu” Dibango (Cameroon 1933 – France 2020) was a multi-instrumentalist musician, and songwriter. His long musical career started Europe in the 1950s. “He formed his own band in Cameroon in 1963, moving to Paris in 1965. His international breakthrough came in 1972 with Soul Makossa.” [Discogs].

This instrumental recording, subtitled “Piano solo duo trio”, presents Manu Dibango playing the piano as a soloist, as a duo with Michel Alibo on bass, and as a trio with Alibo on bass and Vincent Nguini on guitar. Mélodies Africaine Vol.2 (1984) is a follow-up to Mélodies Africaines Volume 1, released 1981 at Manu Dibango’s own AfroVision Records.

Designer Danièle Pinot chose the Bold style of Roslyn Gothic for the artist’s name. ITC Avant Garde Gothic is used for “Melodies Africaines, Vol. 2” and Gill Sans is used for “SOLO DUO TRIO”. I have not yet found an ID for “PIANO”, set in italic caps of a stressed sans (Radiant is similar).

[More info on Discogs]

UK Edition (1975), with the addition of a portrait of Marcus Garvey.

Marcus Garvey is the third studio album released by Burning Spear. One could also claim it is Burning Spear’s first album, as a solo artist. Until shortly before the recording of this album, Burning Spear was the name of the band, lead by Winston Rodney (Jamaica, 1945), with Rupert Willington and Delroy Hines/Hinds as band members. The three of them are portrayed by Dennis Morris on the back cover of this album and its dub version Garvey’s Ghost, released 1976.

The album cover shows a dramatic illustration of two warriors with earrings and spears. At the bottom of the design, a sturdy chain is interrupted by the album title, set in bold capitals of Roslyn Gothic. Roslyn is the single known typeface by lettering artist and friendly-looking gentleman Harry Winters. This typeface was released by VGC in 1972. The Bold style used on the cover was also available from Letraset. The back cover shows both the Bold and the Medium weight.

The same typeface and design concept are re-used by “Bloomfield / Travis” on Garvey’s Ghost. This time, the portrait of Jamaican political activist Marcus Garvey is the main image, reversed as if evoking his unearthly appearance.

See a post about another album named Marcus Garvey produced by Sonia Pottinger for more information on Marcus Garvey.

More info:
[Marcus Garvey on Discogs]
[Garvey’s Ghost on Discogs]

Juice by Melissa, an organic cold pressed juice and super food café, is located in Dongzhimen, China. JAF Domus Titling is used for its branding throughout.

Bavaria blu is a brand of cheese produced by Bergader Privatkäserei in Waging am See, Bavaria. It combines blue mold cheese with Camembert. Introduced in 1972, it is Germany’s market leader in the branded products of blue cheese. [Wikipedia]

Bayreuth, a bold and condensed Fraktur designed by Ernst Schneidler in the 1930s, has been used for the logo and the packaging ever since. In the first decades, the letterforms used for the brand were faithful to the original typeface design. In a redesign done in the 1990s, Bayreuth got simplified, most notably in the ‘B’ or the terminals of ‘b’ and ‘l’.

In the Schneidler monograph, Max Caflisch observes: “In the lowercase [of Bayreuth], there are numerous letter parts which are systematically treated the same way: the top and left parts of a g q and, vice versa, the right parts of b d o p v w or h and y.” This homogenization is amplified in the streamlined revision: the ‘a’ is now almost congruent with ‘v’.

“The first Bavaria blu was very playful and ornate – the way they liked it in the 70s – and the successor design used from the end of 1988 to the late 90s was still very true to the original design.”

“In the 1990s there followed a rather more extensive adjustment to the design: Bavaria blu acquired a new, modern, minimalist look. The brand name lettering and the unmistakable reference to the Bavarian origin were kept.”

“Bavaria blu” in unmodified Bayreuth.

The secondary typeface is Florens by Garrett Boge (LetterPerfect). Waging, the home of Bavaria blu, is about halfway between Bayreuth and Florence – conincidence? The ampersand in Florens apparently was considered too fancy and got replaced.

The local Bergader mountain – the Watzmann – is depicted on the packaging since a redesign in 1998.

The title on the right was for a story about sumo wrestlers.

“Each Monday, Hans-Georg Pospischil, the art director for the Frankfurter Allgemeine Magazin, performs a special magic trick—in total darkness and without an audience. For the design of his weekend insert to the Frankfurter Allgemeine Zeitung (FAZ), a conservative daily newspaper with a 450,000 international circulation, he conjures up these award winning editorial pages.

Instead of assembling traditional layouts by hand or on the computer, he sets up Kodak slide projectors in his office where dummy paper is taped to black cardboard on the back of his door. He turns off the lights and using a zoom lens enlarges the images to the desired sizes onto the layout paper. Then he outlines the contours of the images with a pen and fills the remaining spaces with dummy text for body copy and his chosen type treatment for headlines.

…

In keeping with his philosophy of leaving well enough alone, he'll never manipulate a typeface*. ‘I do not succumb to the pressure of distorting a given type by making it taller or fatter,’ he explains. "I have too much respect for the original designers who obviously thought in great detail about how their work looks best. I leave the typeface untouched, and I only try to set it in the best possible way. This is why we use the computer. When we used to get our headlines back from the typesetters, the spacing between the letters was so horrible that we had to cut each letter apart and repaste each word over again.”

— U&lc, Vol. 20, No. 4, 1994 [PDF]

* The author was referring only to stretching type, because Pospischil did quite often modify fonts for his custom headline treatments. Three examples of this manipulation are shown here: extra dots are added to Pin Ball for film producer “Arthur Cohn”, connecting lines turn Koloss into a pseudo script for pole-vaulting Olympian “Sergei Bubka”, and Gothic Bold is trimmed judiciously to allow for some extra tight spacing in “Mazar-i Scharif”.

Frankfurter Allgemeine Magazin had a reputation for great design ever since it launched in 1980 with Willy Fleckhaus as art director. Pospischil was Fleckhaus’ protégé and took over when Fleckhaus died in 1983.