Sabre and Carat for Kapadokya – Tas Kapidan Tackapiya (2018) by Gürsel Korat.

Examples of book covers by Geray Gençer for Turkish publisher Doğan Kitap, using Alias Harbour, Alias Sabre and Alias Noah for cover type. See more Sabre in use for Doğan Kitap covers for Kuyruk by Basma Abdel Aziz, Bir by Yonca Karaben Sözer and Altın Yıllar by Ali Eskandarian.

Noah and Futura for Küller ve Kızıl (2019) by Pyun Hye-young, translated by Tayfun Kartav.

Harbour, Calluna, and Futura for Gerçekler Kırıldı (2019) by Barış Müstecaplıoğlu.

Harbour and Futura for Bay Leodinas’ın Tuhaf Hikayesi (2018) by Tuncay Çevik.

Harbour for Hırsız (2017) by Fuminori Nakamura, translated by Mehmet Gürsel.

Harbour and Futura for a series of books (2018–) by Oktay Akbal.

Noah and Futura for Aynalar Şehri (2019) by Justin Cronin, translated by Dost Körpe.

Sabre for Mesnevi’den Cevaplar (blue cloth cover edition, 2017).

Geray Gençer’s book covers for the Literature Classics Series by Doğan Kitap/Egmont Publishing Istanbul show captivating two-color illustrations that hint at the books’ content or title. The typography does with a single weight of Futura — the Heavy from Bitstream’s version. The author’s name is rotated, secondary information about the writer of the foreword appears centered. The axis is completed by the publisher’s logo at the bottom.

Fyodor M. Dostoevsky — Suç ve Ceza (Crime and Punishment), translated by Özlem Asiltürk

Jack London — Beyaz Diş (White Fang), translated by Nil Tuna

Gustave Flaubert — Madam Bovary, translated by Bahadırhan Bozkurt

Jane Austen — Gurur ve Önyargı (Pride and Prejudice), translated by İrem Yüce Almaç

Nikolay V. Gogol — Ölü Canlar (Dead Souls), translated by Günay Çetao Kızılırmak

Book cover for Kuyruk, the Turkish translation of the novel Al-Tabuur (English: The Queue) by Basma Abdel Aziz. The title was typographically rendered by Geray Gençer in tightly spaced lowercase letters from Gareth Hague’s Sabre Black.

The Queue […] has drawn comparisons to Western classics like George Orwell’s 1984 and The Trial by Franz Kafka. It represents a new wave of dystopian and surrealist fiction from Middle Eastern writers who are grappling with the chaotic aftermath and stinging disappointments of the Arab Spring. — The New York Times

The title of Yonca Karaben Sözer’s novel Bir (Doğan Kitap) is Turkish for “one”. Geray Gençer designed a set of four cover variations, with different decorative 1s — customised, based on FF Scala Jewel Diamond, Moku 26 Birch, Bodoni Ornamental, and Ziggurat. Sabre is used for the text and also appears on the back cover.

Back cover

Detail of front cover type

“Golden Years” — cover design by by Geray Gençer for Doğan Kitap.

Turkish version of All That Is Solid Melts into Air, “the debut novel by the Irish writer Darragh McKeon. Using the Chernobyl disaster as a backdrop, the novel chronicles the collapse and ultimate end of the Soviet Union.” — Wikipedia

Cover design by Geray Gençer for Doğan Kitap.

Book series with quick introductions into the works of Nietzsche, Mozart, Dostoyefski, Kafka. Doğan Kitap, 2013–14

Cover design for Balık Çocuk, the Turkish edition of Lucía Puenzo’s El niño pez (English: Fish Child). World Literature Series Vol. 4, Doğan Kitap.

The typeface used for the title is Alessandro Butti’s Quirinus Bold (Nebiolo, 1939) — a close follower of Imre Reiner’s Corvinus (Bauer, 1934) — decorated with diamonds and rigged with a custom cedilla that is less generic than the one in Monotype’s digitization. The author’s name appears to be in Gatlinburg Gossamer NF, Nick Curtis’ interpretation of Memphis zart by Rudolf Wolf (Stempel, 1930) and its many alternate characters. Cover designer Geray Gençer brings back the round-top alternate ‘A’ which is included in Memphis (although with a lower crossbar), but not in Gatlinburg Gossamer.

Poster for Sıfır Sayı, the Turkish edition of Umberto Eco’s latest book Numero Zero. (Doğan Kitap). The principal typefaces are GT Sectra and Knockout. Inspired by conventional newspaper layouts.