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Unlike standard FontShop newsletters, we send Industry Focus updates to a select group of professionals in each field and they’re not yet found on our website or anywhere else. Another exclusive: get 15% off any purchase until Dec. 31, 2008 with the code BOOK1.

Industry Focus: Book 1

Welcome to the first edition of a special newsletter series dedicated to the design of books and book jackets. In these periodic updates we’ll compile the FontFeed’s coverage of noteworthy book design and hand pick typefaces tailored for text.

Each Industry Focus email is completely unique and speaks directly to a specific area of design. If you do other kinds of work or would like to receive other editions of the Industry Focus, visit your account settings and update your Professional Profile.

Features on Book Design
   Best Type of Books

The Best Type for the Best Books
The American Association of University Presses honors the best book design in their annual Book, Jacket & Journal Show. We take a look at the most common typefaces seen in the winning entries and offer a thorough list of underused alternatives.

   FontBooklet 2

FontBooklet No. 2
Our latest specimen booklet celebrates type that is designed for use at specific sizes. Find your next face for titling and text within these pages.

Get your free copy »

   Smouldering Covers

Smouldering Covers
A gallery of vintage Ember Library paperback covers features whimsical hand lettering and titillating illustrations.


The Bible’s New Look
Brighton based creative agency Crush puts a new spin on The Good Book with a cover for the current generation.


Letterpress in Motion
A short film from the FireFly Press is an earnest testimony to what some believe is a vanishing art.

Great Type for Books
   FF Clifford   

FF Clifford OpenType
This award-winner by Akira Kobayashi is one of the few digital fonts with separate “cuts” designed for use at specific sizes. Use the low-contrast Clifford Six for footnotes, and Nine for body copy. Eighteen features more refined detail for headlines. Learn more in Kobayashi’s story of the design.

   Berling Nova   

Berling Nova OpenType
Originally drawn in 1951, Berling was Sweden’s definitive workhorse for more than half a century. Four years ago, Fredrik Andersson and Örjan Nordling updated Berling for the digital age. In the Display cut, serifs are softened; in the Text, contrast is reduced.

   Kings Caslon   

King’s Caslon OpenType
“When in doubt, use Caslon” went the old book publisher adage. These days there are many digital versions of the classic face, but most are anemic at text sizes. Dalton Maag studied the original drawings to make this Caslon fit for a king — King’s College London, that is.


Vendetta OpenType
Available in OpenType, one of our favorite underused text serifs now comes in the format it deserves. Vendetta sets readable yet distinctive blocks of copy and includes small caps, petite caps, four figure styles, and even vertical fractions for elegant book typesetting.

   FF Parable   

FF Parable OpenType
This low-contrast text face is optimized for small print, with thoughtful details that only a PhD in Type like Christopher Burke could craft. Now that it’s available in OpenType, Parable is optimized for humans too.


ITC Mendoza OpenType
One of the great under appreciated book faces, Mendoza is strong but graceful. José Mendoza’s goal was to maintain the “sensitivity of the hand’s gesture”. While most calligraphic serifs fail as versatile text faces, this one thrives in both long texts and headlines.



Fonts used in title graphic: FF Clifford & FF Unit.


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