Catherine Casalino’s cover design for Kristin Koval’s debut novel Penitence pairs the organic forms of Study with a stark wintry scene. As Catherine explains in a post:

For a novel centered around two Colorado families connected by tragedy and love, it was important to find imagery that captured the setting, but also evoked the mood of the book. When I came across the work of Nisha Ghela – who creates stunning landscape paintings of Colorado – I knew we had a perfect match for this beautiful novel.

The book was published by Celadon Books.

In The Power of Trees, author Peter Wohlleben traces how trees are adaptive enough to survive climate change while critiquing those who exploit planting trees for political and economic gain. The book cover features the distinguished Study, with a supplemental Calluna Sans Italic for the author’s previous book, The Hidden Life of Trees.

German chain Krome’s Backstube has been serving up baked goods since 1881, through four generations. Emphasizing their values of tradition, handmade quality, and fresh goods, the branding pairs Study, a warm, calligraphic, bookish serif with Canela Bark, a jaunty swashed script.

The bakery’s website was designed and coded by Exportarts in 2019, based on previously established branding.

Johanna Kramer’s Mondjournal (“moon journal”) is a structured journal centered around a physical, mental, and spiritual relationship to the phases of the moon. Etherial settings of tracked-out Study pair with the straightforward voice of Brandon Grotesque. Design by Zoe Ugne of Studio Zo, Edinburgh.

An 18th century well was recently uncovered in the Boerum Hill neighborhood of Brooklyn, and a one-of-a-kind historical marker was mounted at the site in April 2021.

Abby Goldstein designed the small plaque with raised letters. Its center-justified text succinctly deploys Study’s lining figures, old-style figures, Th ligature, small capitals, and fleuron.

Howard Kolins of the Boerum Hill Association and Assemblymember Jo Anne Simon with the marker

Spot the tiny plaque just above the potted plant near the center of this photo.

Sarah Fisher designed Connect, a quarterly magazine published by Christ Church Southhampton. She writes on her website:

The magazine is designed to have a handful of short articles paired with a couple of longer ones, and is text-focused rather than relying on imagery. The typography is fun but easy to read and is designed to push the message of the article to the forefront by using plenty of whitespace, together with bold headings and pull quotes.

Rift is used for headlines and emphasis while Study is used for the body copy. Both fonts express a sense of warmth but function at different scales, making for an engaging and efficient typographic pairing.

Inside of unfolded invitation, 10″×14″

For The Paris Review’s 2019 Spring Revel benefit invitation design, Topos Graphics conveyed a broad range of book design with 18 carefully-selected bookish typefaces. Topos provided this explanation by email:

We designed a book shelf environment for text elements to be placed, composing texts as if they were individual titles. Different volumes of content got different character treatments. This functioned to compartmentalize the invitation’s hierarchy of info, but it also allowed us to approach each individual element anew. Like a personal library, the result takes on a character of its own. Tinged with old- and new-era sensibilities, we felt the selections—and the suite's ​ color palette—connected to The Paris Review’s 1960s advent and a contemporary moment—both in literature and typography. Book collections, like font collections, showcase a rich diversity of history, form and taste.

The invitation unfolded to a 10″×14″ posterette, with the front and back sides designed as a kind of A-Side, B-Side of a wooden bookshelf. The shelf cubbies gave us spaces—a semblance of a grid—to place information within. And that grid functioned through the event’s other collateral, like its printed program.

The annual event’s title “REVEL” is spelled out of book spines and a clever crop of Schmalfette Grotesk’s R. Strategic moves in hierarchy, with color, scale, and type orientation, create an engagingly graphic reading of a large amount of text. The books are energetically stacked, with the bookshelf bolstering as a grid to group and separate information.

Additional typefaces reflect different eras and aesthetics of book design: elegantly readable Garamond Premier, Paperback, and Study; mid-century classics like ITC Franklin Gothic and Lydian; genre-novel signifiers Ballast, Bookmania, and Cortado; stoic and structural ITC Lubalin Graph, Swiss 721, and Sentinel; contemporary and inventive Minérale and Canela.

Larger book spines use display typefaces to prioritize the most pertinent information, like the event location and speakers. Smaller type used uniformly suggests the repeated design systems of book series—Study for the board of directors and Schmalfette Grotesk for list of hosts.

The opposite side of the unfolded invitation provides a peek at the book blocks from behind the shelves and a quiet background for a mailing label. All information is repeated from the graphic side, set more traditionally in Garamond Premier. The attention to hierarchy persists, and ruled lines parallel the organizational function of the bookshelf.

Front of folded invitation. The Paris Review’s logo is segmented on book edges.

Outside of the invitation, unfolded

Close crop of the vector artwork

Close crop of the vector artwork

Close crop of the vector artwork

Close crop of the vector artwork. Garamond Premier is used in various of its optical sizes.

Close up of Minérale, Schmalfette Grotesk, Paperback Italic, and a little bit of Chrysaora

Close up of the writer hosts section using Schmalfette Grotesk

Illustrated children’s book Goodnight 2 St. Louis is a sequel to Goodnight St. Louis, both riffing off of Goodnight Moon. Fittingly, the book is set entirely in Study, from St. Louis-based type foundry XYZ Type.

Interior detail

Interior detail

Interior detail

Suntup Editions has announced a new edition of The Butcher Boy by Patrick McCabe, designed by Michael Russem and illustrated by David Lupton. The book is described as “a powerful and unrelenting journey into a young boy’s heart of darkness” featuring a protagonist the New York Times called “part Huck Finn, part Holden Caulfield, part Hannibal Lecter.”

Suntup’s description includes this note on the typography:

The text face for The Butcher Boy is Study, recently designed by Jesse Ragan and based on the 1968 hand-drawn alphabets of Rudolph Ruzicka, a Czech-American illustrator, typeface designer, and book designer. The face is both typographic and calligraphic, with many distinctive characters and quirks. To call it child-like would be dismissive. Let’s call it human. It’s that humanness that suggested it as the text face for The Butcher Boy as the main character (although at times savage) is always human.

The wild display face is FF Folk, designed by Maurizio Osti and Jane Patterson in 1995, and based on the Ben Shahn Folk Alphabet of 1940. It’s unpredictable and untamable with a manic energy that’s a perfect match for the protagonist of The Butcher Boy.

The book is available for advance purchase from Suntup Editions and is expected to be published in summer 2022.

Cover for the Artist edition (limited to 1000 copies)

Cover for the Numbered edition (limited to 350 copies)

Cover for the Lettered edition (limited to 26 copies)

Study serves as the sole counterpoint to a striking photograph on the cover of Abbeville Press’s edition of Life and Culture in Northeast India, by Dipti Bhalla Verma and Shiv Kunal Verma.

In How to Live Like a Monk: Medieval Wisdom for Modern Life, author Danièle Cybulskie discusses “how medieval monastic practices—with their emphasis on a healthy soul, mind, and body—can inspire us to live fuller lives today.” The book was designed by Misha Beletsky with illustrations by Anna Lobanova.

Misha shared these comments about the typography:

For a book on modern lifestyle that takes some cues from medieval asceticism, we needed a text type that feels current yet would hearken to earlier times. The restrained calligraphic feel of Jesse Ragan’s Study based on lettering of Rudolph Růžička, added a flavor of a scriptorium yet was not overtly Renaissance-inspired like other calligraphic text types such as Robert Slimbach’s Brioso or Jovica Veljović’s Agmena. To make it a perfect match to our subject matter, the squared-off curves echoed the structure of black letter without copying it.

For display we used the black weight of Fine Gothic—a friendly blackletter, reimagined by Michael Harvey and Andy Benedek in the spirit of Rudolf Koch.

Designer Lorenzo Bezzecchi shared these notes by email:

La Baracchina, a historic restaurant in Modena, recently redesigned its interiors and restyled its own identity. We decided to design a menu that lived up to and reflected the expectations of the restaurant and its customers, using papers and finishing that match the colors of the interior design materials as closely as possible.

“Da Mangiare” and “da Bere” are printed in two different colors, sizes and fonts, to make the difference between them clear. Using Study I found it contemporary but still with a humanistic touch, and its slightly stiff lines worked well in contrast to the much softer Grad.

The restaurant menu uses Aviano Sans.

Year by Year, the first book of poetry by filmmaker Lynne Sachs, is the result of a deep collaboration with designer Abby Goldstein. Typeset in Study with headings in Freight Sans, the poems are presented adjacent to handwritten journal pages, emphasizing the relationship between content and form. The author’s eccentrically-lettered dates are isolated and collected on the book’s cover to create a cacophony of numbers that reflects the movement of time.

With one poem for each year from 1961 to 2011, the collection began as a half-century marker in Sachs’ life, reflecting on history and memory. The handwritten poems themselves became the basis for her 2017 documentary Tip of My Tongue.

Catalog cover

The Association of University Presses, an organization of nonprofit scholarly publishers, hosts an annual Book, Jacket, and Journal Show to honor “meritorious achievement in design, production, and manufacture of books, jackets, covers, and journals.”

Isaac Tobin, who served on the committee for the 2019 AUPresses show, also designed its identity and printed catalog, using the vernacular of print design production, such as crop marks and color swatches. Study is used extensively for text, along with two of Tobin’s own in-progress typefaces for headings, Attleboro and Forna (Tobin).

Catalog half-title page

Catalog title page spread

Catalog contents spread

Catalog interior spread

Catalog category opener

Catalog interior detail

Catalog interior detail

Old Town Tavern is a local pub in Clapham, London, serving an extensive beer selection and Mexican food in the refurbished space that housed the historic North Pole pub from the 1860s to the 2010s.

Designer Kelly Shield found lively harmony in a strategic mix of angular typefaces (Lydia, Harbour, Study), smoothed out with a clean geometric sans (Walsheim).

Lynn Fisher’s web project USFlags.Design provides an analytical view of the United States’ flag designs. The site offsets detailed diagrams and informational graphics with airy typography—the academic voice of Study and the informational tone of Proxima Nova. Fisher describes the site as a meeting of “a budding vexillology interest and a love for visual design guides.”

A booklet announcing the new identity

Dartmouth College’s updated identity system by Original Champions of Design centers around two typefaces, Dartmouth Ruzicka (an exclusive customized version of Study) and National 2. Study has a historical link to the university, who published Rudolph Ruzicka’s 1968 book Studies in Type Design, the inspiration for the typeface.

Excerpts from Dartmouth’s visual identity guidelines by OCD:

Originally designed by Rudolph Ruzicka, Dartmouth Ruzicka is a typeface that speaks to the legacy and history of Dartmouth. Type designer Jesse Ragan picked up where Ruzicka left off to modernize Ruzicka’s typeface and bring it into the 21st century. Using Dartmouth Ruzicka as the main typeface for communication materials highlights the cultured, scholarly side of the College.

National 2 is a deceptively simple sans-serif with subtle details that give it a distinctive, but not distracting, personality. While National 2 travels through and touches on a lot of historical material, it is designed to thrive in our contemporary typographic climate. Using National 2 as the main typeface on communication materials plays up the strong, bold spirit of the Dartmouth brand.

Different combinations of the typefaces evoke different facets of Dartmouth’s personality. Dartmouth Ruzicka communicates the legacy and prestige of the college while National 2 has a clean, modern presence. No matter which combination of typefaces you choose, always use contrasting weights and sizes to create a hierarchy of information.

The all-caps “Dartmouth” logotype is based on other lettering by Ruzicka, which is not available as a typeface.

“Dartmouth Life,” an alumni publication

A spread from “Telling Our Story”

Sample uses from Dartmouth Visual Identity Guidelines

Guidelines for departmental lockups

“Typography Styling” from Dartmouth Visual Identity Guidelines

5″ × 8″ invitation designed for Jesse Ragan’s talk at the Society of Printers about reviving Rudolph Ruzicka’s typefaces as digital fonts. The typeface is a beta version of Study, one of Jesse’s revivals.