The Philosophers of Greece was written by Robert S. Brumbaugh (1918–1992) and published by Thomas Y. Crowell in 1964. SUNY Press describes the book as follows:

This is the story of philosophy in ancient and classical Greece. Robert Brumbaugh brings out the intrinsic and current importance in the development of Western philosophy from Thales to Aristotle. He emphasizes the insights and ideas that have proven crucial to later Western thought and reveals the success of the classical thinkers in forming systematic philosophic syntheses.

The interior was designed by Laurel Wagner and is set in Linotype’s Benedictine. This typeface is a revival of type used by Plato de Benedictis, of Bologna, for books issued between 1487 and 1495. It was carried out by Joseph E. Hill, under the supervision of Edward E. Bartlett, director of Linotype Typography, and first released in 1915. The family was expanded with a lighter Book weight (with italic) in 1922, and a Bold (with italic) later. The pages below show most of Benedictine Book’s roman capitals and lowercase letters, plus some of the italic. Chapter titles are set in Frederic W. Goudy’s Kennerley, in roman caps and italics.

The jacket design (shown above) is credited to Klaus Gemming and uses Warren Chappell’s Trajanus, in bold capitals plus italics.

Chapter opening

Bibliography

Contents

The Collins White Circle print of Victor Gunn's The Dead Man Laughs. by Victor Gunn, a pen name of British novelist Edwy Searles Brooks (1889–1965).

The title of the book and name of the author both use Tourist Gothic, Sol Hess’ expansion of Modern Gothic Condensed that added alternate caps and an italic style. Only the former has been digitized, and even then, with only one of the alternate E’s.

The back cover brings together Sans Serif Extrabold for the title, Century Oldstyle Italic for the author’s name, and Kennerley for the synopsis.

Soft Surroundings is an American ladyplace that sells comfortable elegant mid-priced bourgeois ladyclothes to various ladies. I found myself briefly trapped in one recently while my wifelady was shopping. As my weary eyes wandered, I looked up and beheld this Gestalt staring back at me dripping with triumphantly shameless consumerism in that New Agey soft focus sort of vibe, like someone just knocked me upside the head with an espadrille. In my mind I could hear the phrase chanted gently through a low-pass filter as a mantra by a yogalady. The thornish lowercase p taunted me. I recognized it but could not name it. It definitely had a Goudyness to it, so I took a snapshot then later furiously paged through Lanston samples until I figured out it was Kennerley.

Front cover

Swedish country singer David Ritschard's second album released on LP and as a limited edition version. The album title Blåbärskungen translates to "the king of blueberries" in Swedish. Artwork concept centers around a custom-made screen printed collectors plate with the artist portrait surrounded by a blueberry garland and the album title set in Weiss.

The inner sleeve and label are printed in blue monotone. The main text is set in Kennerley and information details in Helvetica. All the contributing musicians were scattered like blueberries between the lyrics.

The limited edition of the album comes in a handmade box from Norrmalms kartongfabrik in Stockholm with the title hot foiled in gold on the lid. It includes a numbered collectors plate, the album on LP, a piece of string and a note from the artist. 50 boxes were made.

Back cover

Inner sleeve

Limited edition box

Proposal for the first issue of Arquitectura Encubierta (“Hidden Architecture”), an independent publication that contains a brief selection of texts and articles building a bridge between architecture and vegetation, to be concerned with increased integration in nature nowadays. The project has not been realized.

Inspired by the work of Fernando Higueras, all photos were taken by Diego Moratalla, showing how nature invades the visual space of human structures. This contrast is reflected in the typographic choices: While the geometric TT Firs Neue represents solid architecture, Pinyon Script is the organic path that overlaps it, as it usually happens in those spaces where plants and concrete coexist. The text on the angled sticker/barcode on the cover uses a mix of Founders Grotesk and Kennerley.

Cover of E. Power Biggs ‎– The Organ In America, released on Columbia Masterworks label ‎– ML 5496. Published in 1960.

The Organ In America: Being a Survey of the Organ-Builder's art as practised in these United States from the Revolution until the War Between the States with many Sounds of the actual Instruments playing lively Tunes & Musicks of the Day.

Collected & Performed by E. Power Biggs with divers Articles and Illustrations of this Fascinating but Little-Known Inheritance.

The typography combines Goudy Heavyface Italic with another design by Frederic Goudy, Kennerley. It appears in roman and italic, the latter embellished with a few alternate swash caps (B, D) and the long s (ſ). It also uses the italic ampersand throughout the text, which has a more expressive appearance than its roman counterpart. The bottom pattern is cleverly constructed out of O's set in Goudy Heavyface in red alternating with Kennerley in black.

Translated and annotated by Richard Pevear and Larissa Volokhonsky. Vintage Classics, 1999.
Cover design by Barbara de Wilde, using the image Turks, 1921, by Nicolaï Mikhailovich Grigoriev, Russian Museum, Leningrad.

The version of Nesbitt’s Gothic used here might be Dennis Ortiz-Lopez’s OL Smokler. The text looks like a Kennerley, but I can’t tell for certain.

“Have you taken a good look at your face lately?”
“You can always count on Les to put a little punch in your face.”

Filmcomposition was an English phototypesetter and supplier of Fonts/Ingrama and Typsettra type. Typsettra was something like the ITC of Canada, recreating classic typefaces in 1970s fashion, with large x-heights and ultra tight spacing. “Les”, as mentioned in the ad above, refers to Les Usherwood, who founded Typsettra and designed many of its typefaces.

It’s not clear who designed Worcester Round, however. MyFonts credits it to Adrian Williams in 1974. [Update Aug 13, 2018: In Modern Encyclopedia of Typefaces, 1960–90, Wallis credits the typeface to Adrian Williams for Fonts/Ingrama SA.] The date of this ad is unknown.

Illustrations by Doug Panton.

Olly Moss’ English-language poster for Howl’s Moving Castle, published as a screenprint by Mondo.

The smaller type used for the credits is hard to identify perfectly from the relatively low-res images available online, but it looks like something similar to Kennerly.

It is possible that this custom Kennerley, originally designed by Frederic Goudy, was adapted for phototypesetting by Jim Parkinson for Roger Black.

Before he became a famous modernist industrial designer, W.D. Teague was an illustrator/designer working in advertising.