Faber & Faber launches its Spring 2014 catalogue, introducing a new word marque in a bespoke font and a defined colour palette.
The list includes a spectacular array of publications, from lyrics to poems, prose and fiction: new novels by Hanif Kureishi and Sebastian Barry, and short stories by Lorrie Moore; a memoir by John Carey celebrating the joy of reading; The Ted Hughes Bestiary, edited by prize-winning poet Alice Oswald; and from Viv Albertine, ex-guitarist with The Slits, her memoir Boys, Boys, Boys. Clothes, Clothes, Clothes. Music, Music, Music.
Notable debuts include Peter Swanson on the crime list; The Moor: The Landscape That Makes Britain by William Atkins; and a striking debut collection of poems, Terror by Toby Martinez de las Rivas. The relaunched Children’s list includes the arrival of a boy wizard fast becoming an international sensation, Archie Green, and a series of stellar picture books, beginning with Harry & Lil, by poet Julia Copus.
The catalogue also ushers in several distinctive new design features: a new Faber word marque in a bespoke font inspired by the typography of the late 1920s, the period of Faber’s early existence, and makes use of a fresh palette of colours created for use across the business and inspired by book covers in Faber’s archive.
Stephen Page, CEO:
‘Faber’s trademark ff colophon, created by Pentagram, has sat at the heart of our brand for nearly 30 years, and will continue to do so. In announcing a thrilling list for Spring 2014, we are also unveiling a new design for our word marque. Reviewing our brand design in the light of the new world of reading, with its emphasis on readers online and digital publishing, we realised that we needed to find new ways to express our visual identity. We’re delighted with the new design conceived and created by our Art Director Donna Payne.’
Donna Payne, Art Director:
‘Over the last year, we have been considering how we bring the range of what we do more strongly into our visual branding. Making our identity work across a range of media and formats required a fresh approach. As a starting point it was essential to keep the double-f colophon, which has become synonymous with our publishing identity, so the challenge was to come up with a complementary and strong word marque.’
It’s staying …
The Word Marque:
The current italic font didn’t work well online, so producing a word-marque that would both complement the colophon and have a strong presence on its own became a key priority.
Using an ampersand visually brings the two ‘Fabers’ closer together. The re-introduction of the ampersand allowed us to create a more effective, unified and recognisable word marque.
For inspiration we turned to elegant art-deco fonts that were created around the time of Faber & Faber’s inception in the 1920s: those with a ‘modern Deco’ feel, a strong visual reference to what has made us a unique publisher for nearly a century.
We have selected a colour palette for use across print and digital, inspired by historic editions in the Faber archive collection.