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Each FontBook is shipped in sturdy cardboard packaging.
The most recent edition of FontBook is an invaluable reference tool.
New and improved
There’s a dramatic increase in the number of specimens (32%) and only a slight increase in size. If the old FontBook and its FontFinder are added together, the new FontBook is only 7% larger. Typefaces from 90 foundries, up from 65, are now included. Great effort has gone into streamlining the entries, and superfluous information has been removed. When the new FontBook was released last year, eight years had passed since the last update – it was worth the wait.
Thanks to the protruding edges of the packaging the corners run no risk at being damaged by the transport.
Less clutter
There’s less clutter. Online sales and single weights have obviated the need for package information, so it has been removed. Distributor information and font numbers are also gone from the main pages; they’ve been moved to the index. The eye can now focus on the fonts without being distracted by the package and distributor information that sometimes filled the side bar. For large text families this is an especially welcome development.
Look ma, no hands!
Displays
There’s more to look at. All Display (and some Script) entries have been customized. Instead of 12 pt blocks of text, there are now lines of 24 pt text for all weights. For single weight specimens this means a larger entry than before – the only occasion where FontBook editors have augmented rather than reduced presentation space. The extra pages are worth it. The rhythm of words is different from a static character set. It imparts a sense of the flow of a face, of its spacing and proportion. And in this case it’s large enough to see the detail in a group of fonts for whom 12 pt rarely does justice.
The list with the 90 type foundries included in FontBook.
Families
There’s better balance. Large text families used to take up more than their fair share of the room. Some entries spread over almost three pages, overshadowing smaller families and eating up valuable space. Previously every weight had its own 12 pt text block, even if there were only a few characters. Now weights have been combined. For instance, Small Caps show up in a block of Roman text – it saves space and it’s a more authentic presentation.
Sans Section
See Also
See more. The familiar ‘eye’ is back – and it’s everywhere. With three times as many cross-references as before, a huge amount of time and energy has gone into creating this latticework of like-minded letters. Use them as a search tool, or let them take you for a ride. See something you like and start to follow the trail. It may lead you somewhere unexpected, you’re sure to see something new.
Serif Section
Multilingual
The options have multiplied. The Non-Latin & Accents chapter from the last FontBook has been split in two, and references to additional encodings have been incorporated into the header bar in all sections. It’s now instantly apparent if a typeface is a good choice for a multilingual production. Brochures, product packaging, labels, signage – many things are multilingual from their inception. In FontBook you can see at a glance if the typeface you’ve chosen is available in the versions you need. If version availability is paramount, go first to the Latin Plus list and see which designs are available in the required encoding. The language abbreviations are listed in the black header, and a compact list of font names printed in their corresponding weight follows. The separate Non-Latin section is comprised of over 600 faces representing dozens of different languages and scripts. From Cyrillic to Cantonese Transliteration and Arabic to Urdu, if you need it, it’s probably here. The headers list additional encodings and often there is a link back to a Western encoded face elsewhere in FontBook.
Slab Section
Information
It’s a veritable encyclopaedia. Designer name; year of production; additional dates if it’s a revival. Cross-references throughout all sections referring to similar, related or relevant faces. Manufacturer information; product numbers; family relationships; style indications; additional encodings. It’s all here.
Script Section
FontBook 4 – Extraordinary effort; Exceptional result.
Display Section
Blackletter Section
Dingbat Section
Latin Plus / Non-Latin
FontBook 4 | Technical specifications
4th edition First edition in 1991, previous edition in 1998, current edition in 2006
Print run 10.000 copies
Format 15,5 x 29,7 cm
Binding Hardcover, including 3 yellow/black/white bookmark ribbons
Number of pages 1.760 pages (18% more than in the previous FontBook)
Weight 3 kg (without packaging)
ISBN 3-930023-04-0
Published by FSI FontShop International, Berlin, Germany
Edited by Mai-Linh Thi Truong, Jürgen Siebert & Erik Spiekermann
introduction by Jürgen Siebert and type designer, author and ‘type guru’ Erik Spiekermann
Content 30% more fonts
• Approx. 32.000 type samples (30% more than in the previous FontBook)
• Approx. 7.400 cross-references (300% more than in the previous FontBook)
• More than 100.000 additional references
• Fonts by 90 type foundries (25 more foundries than in the previous FontBook)
Special promotion – Until December 31st 2007 FontBook costs €99,- shipping and VAT included. This is a reduction of at least € 20,-
To order your copy send an e-mail with:
* Billing address
* Delivery address
* VAT number (if applicable)
* Method of payment: credit card or prepayment. If you opt for prepayment, but the payment or a proof of payment hasn’t been received by FontShop by December 31st at midnight the special promotion is void and you need to pay both shipping and VAT.
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Dear clients. Thank you for the big response on our End of Year Promotion!! If you e-mail us your order and wish to pay by credit card, may we kindly ask you to mail us your credit card number and exp. date to? If you don't feel like mailing us those details, you may also fax (0032-9-2203445) of give us a call (0032-9-2202620).
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