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Christian Kracht paperbacks (Fischer, 2019–)

Contributed by Andreas Kofler on May 3rd, 2021. Artwork published in .
    Imperium cover and spine.
    Source: https://www.instagram.com Oliver Kimpel. License: All Rights Reserved.

    Imperium cover and spine.

    Modern Temperament (Oliver Klimpel and Till Sperrle) developed a new concept for the paperback reissue of all novels and travel writings by Swiss author Christian Kracht at the German publisher Fischer Taschenbuch.

    The book series prominently features a bespoke typeface designed by Aurelia Markwalder, with art direction from Modern Temperament. New Asmyth references a typeface design by G. Evans, originally issued by Mecanorma as Asmyth in 1981.

    The new cover designs feature the old emblem of the Frankfurt-based publishing house, created by Wolf Dieter Zimmermann.

    Imperium cover.
    Source: https://www.fischerverlage.de S. Fischer Verlag. License: All Rights Reserved.

    Imperium cover.

    Imperium title page.
    Source: https://www.fischerverlage.de S. Fischer Verlag. License: All Rights Reserved.

    Imperium title page.

    Ich werde hier sein im Sonnenschein und im Schatten.
    Source: https://www.fischerverlage.de S. Fischer Verlag. License: All Rights Reserved.
    Faserland.
    Source: https://www.fischerverlage.de S. Fischer Verlag. License: All Rights Reserved.
    Ferien für immer.
    Source: https://www.fischerverlage.de S. Fischer Verlag. License: All Rights Reserved.

    Ferien für immer.

    Der gelbe Bleistift (travel writing).
    Source: https://www.fischerverlage.de S. Fischer Verlag. License: All Rights Reserved.

    Der gelbe Bleistift (travel writing).

    1979.
    Source: https://www.fischerverlage.de S. Fischer Verlag. License: All Rights Reserved.
    New Wave.
    Source: https://www.fischerverlage.de S. Fischer Verlag. License: All Rights Reserved.

    New Wave.

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    1 Comment on “Christian Kracht paperbacks (Fischer, 2019–)”

    1. Thank you for documenting these cover designs here, Andreas! They’re quite an eye catcher. With its idiosyncratic shapes rooted in the 1980s, the custom typeface is a good fit for Christian Kracht.

      As far as I can tell, New Asmyth stays fairly close to the original. Shown below is a glyph set for Asmyth Light as shown in a Mecanorma catalog. To my knowledge, it’s the only published typeface design by G. Evans. We had featured one in-use example for a record cover from 1983 on Fonts In Use before, see “Penelope Tree” by Felt.

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