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.

From design studio 20(Something):

How can we ensure technology serves humanity, rather than undermines it? Omidyar Network (ON), the US philanthropic organisation founded by Pierre and Pam Omidyar, challenged us to create a brand identity reflecting their commitment to embedding humanity into our digital future. With nearly $2 billion invested, ON is one of the largest philanthropic funds dedicated to guiding technological advancement towards collective power, prosperity and possibility.

Our brief was to develop an identity centred on collaboration, collective achievement and responsible innovation. We crafted a distinctive wordmark and emblem symbolising unity and strength. Rejecting typical philanthropic aesthetics, our dynamic design system was inspired by authentic human interactions, visually highlighting the vital link between people and technology. Typography was chosen to embody ON’s vision, pairing the warmth of Feijoa Medium with the future-oriented precision of F37 Lineca.

The identity for Osteria del Gallo Ardito strikes a balance between heritage and modernity, much like its culinary philosophy. While grounded in traditional Lombard roots, the osteria in Galgagnano reinterprets classic flavors with a contemporary touch, an approach reflected in its identity and typographic system.

Feijoa, used in the logo and key identity elements, brings a sense of warmth and craftsmanship with its organic serif forms. Its subtle elegance nods to the osteria’s historical origins. In contrast, Suisse Int’l offers a clean, modern counterbalance, ensuring clarity and readability across supporting materials.

This interplay between serif and sans-serif highlights the osteria’s blend of refinement and tradition, reinforcing the narrative of a dining experience that bridges past and present.

Osteria del Gallo Ardito translates to “Bold Rooster Inn”. This is echoed by the logo visual, a chicken footprint.

Seems like, by 2024, everyone has recorded their own podcast. Ubah Bulale, the host of podcast series The Armchair Psychologist, used to have a successful career as a tech recruiter, advising start-ups and F500 companies. But she left her career and went to study to become a family psychologist.

In 2020, The Armchair Psychologist started as a small blog where anyone could ask questions about love and relationships. In 2023, the community grew into a podcast. Ubah launched the first episode with renowned academic Noam Chomsky as a guest. Together with some of the most creative minds of our time Ubah and her guests seek to understand how human emotions work and how to love, work and live in these challenging times.

Their visual identity was designed by Schneider Studio.

The idea of the dynamic logo and identity comes from the concept that the human mind and feelings hasn’t been fully explored yet. It is dually capable of a full range of emotions as well as cognitive load. It’s notably messy and enjoyably complex.

The color palette works perfectly for both the podcast and the community. The monochrome black and white identifies the podcast, the new episodes, while the other colors emphasise the community platform.

As a headline font we picked Right Grotesk by Pangram Pangram. It features many fine details, smooth curves, moderate contrast and slightly unusual anatomy. It works perfectly for important updates, such as new episodes and promos.

The secondary font is Feijoa, Klim Type Foundry’s debut typeface family. Feijoa’s base principle – ‘a straight line is a dead line’ – results in a warm, curvaceous nature of the individual letterforms.

All small texts are set in Suisse Int’l from Swiss Typefaces.

Tava is a recipe book about Eastern European baking and desserts from Romania and beyond, written by Irina Georgescu and published by Hardie Grant Books. Design by Evi O. Studio, using Jäger by VJ-Type throughout. Body copy is set in a combination of Klim Type Foundry’s National and Feijoa.

Floressence is a Tuscan dry gin with unmistakable aromatic notes inspired by Caterina De’ Medici, imagined in Florence. Every drop of Floressence comes from a delicate sensory balance, studied and created by an expert mixologist and perfumer. Oscar Quagliarini, Bartender Perfumer – a royal signature in the world of spirits – has studied and created the perfect synthesis of balance between balance, floral scents and eccentricity. It is inspired by the olfactory pyramid of the Queen's perfume – Caterina, ça va sans dire – created for her by René Le Florentin.

The logo is set in the Regular weight of Norman, with a golden foil. Norman is also used for the communication on social networks, paired with lettering. The accompanying serif is Feijoa.

S’exposer au vent (“Exposing yourself to the wind”) is a book that gathers conversations around the project of floating wind turbines in the Gulf of Lion. It is published by the Bureau des guides du GR2013. This cultural association carries out projects that offer original experiences and situations to a wide audience in and around the Aix-Marseille metropolis.

Design by Aéro Club with assistance from Pedro Cardoso, using Bourrasque and Feijoa.

Student assignment from ESAD Matosinhos 2021: “redesign a paperback pocket book or travel book. The chosen work must be timeless and have gathered consensus regarding its quality.”

From the selection list of the El País newspaper I picked C by Tom McCarthy. The novel tells the story of a boy who spends his childhood between silence and the noise of static, and all his life was marked by the mysteries of communication: by codes used during the First World War, by seances in London after the war, and by enigmas of Egypt. C is “an ambitious and original novel in its historical and psychological scope”.

For the book’s core I chose Feijoa, from Klim Type Foundry, a contemporary and well-designed typeface. I chose it because it is serifed, which makes it easier to read in long texts.

For the rest of the book (in titles, subtitles, pagination, among others), I used Neue Haas Grotesk, an older design, however, modern. The choice of this font is also due to the fact that it is a grotesque, associating it with something austere and sober at the same time.

The C on the cover is a cut circle (very similar to the C in the Futura typeface), representing the life cycle of the main character and how it was shortened by not so good events throughout the story.

Book designed and produced during a laboratory week in Cognac (France), with Thomas Ferrand, artist-researcher in botany. Portrait of a city through its living organisms: humans, lichens, birds, insects and anonymous “weeds”. The typography is set with Feijoa, paired with Basteleur for emphasis. Photographs by Simon Courchel.

“Formulas” is a range of four numbered face creams by Make Me Bio. Like all their products, the restrained packaging uses only colour and typography to sell the brand. Large numerals of Ivar Display are paired with smaller texts set in Ivar Text. The Make Me Bio logo uses Feijoa Headline.

After a recent rebranding, Make Me Bio – a natural cosmetics producer and its subbrands switched to use Ivar Display and Ivar Text by Letters from Sweden.

The logotype is now based on Feijoa by Klim Type Foundry.

From Studio Elena Schlenker's website:

This portfolio of thesis work by the 2018 graduates of Image Text Ithaca’s low residency MFA features eight booklets housed in a fabric-wrapped case with flaps and secured with a single X-band. The case interior is printed with an introduction by Emma Kemp, with endnotes housed on the inside spine. Each booklet spotlights the work of a single student, allowing them to reprint additional standalone versions as needed.

Published by Image Text Ithaca
Printed by Conveyor
Cover screenprinted by Standard Art Supply
Booklets designed with Martha Ormiston

Noel Kingsbury’s love letter to the daffodil is simultaneously my love letter to Whitney. The entire book is set in Whitney — body text, larger intro text, captions, and most of the heds. The exception is Feijoa, used in its beautiful display weight for chapter titles and A-heds (and the cover).

The book is casebound with a dust jacket. Published by Timber Press in 2013.

I created a graphic (with ink and a toothbrush) to give a yellow glow from the gutter, to keep the flower power going on some of the spreads that lacked photos.