PaperSpecs Presents: ‘Ler/Ver’ Split-Page Typography Book

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As designers, we all know that it’s not just the look of a typeface that makes it a good choice for a project, but also how well it reads. This tension between type appearance and legibility is at the heart of this hardcover catalog for the Fabio Haag Type Foundry. Designed by Casa Rex (http://casarex.com) and printed by Visão Gráfica (https://visaografica.com.br/) in São Paulo, Brazil, this volume “splits the difference” between these two qualities of a unique way. and surprising way.

The cover, printed in CMYK offset on 150 gsm (100 lb) coated paper, hints at the surprise that awaits us inside, merging the top and bottom halves of the two Portuguese words “Ler (“Read” ) and “Ver” (“See”) on a cool green background.

Opening the cover instantly reveals the unexpected approach of the 64-page book to make us appreciate how the 7 character families featured inside look and read. The inside pages have been bisected horizontally in the same way that some children’s books allow their readers to mix and match different illustrations by turning the pages randomly.

Here, the inside pages were printed in CMYK offset on 150 gsm (100 lb) paper. The signatures were then folded and cut to the final text block dimensions of 22 cm x 30 cm (8.7 x 11.8 inches). Only then were they cut in half to create 2 books measuring 22 cm x 15 cm (8.7 x 5.9 inches) each. These were then bound and inserted into the cover. (The final book with cover measures 23 cm x 31 cm or 9.1 x 12.2 inches.)

The result is a wild mashup of type and images in which the top of a man’s face lines up with the bottom of a woman, for example, while different typefaces are juxtaposed against each other – all depends on how you flip through the pages. The sheer number of possible combinations emphasizes the type’s visual excitement one moment, and its ease of reading the next.

The book’s split personality is also helpful on the final pages which share details about each font featured, along with their respective typographers in Portuguese in the top half of the book and English in the bottom half.

As a result, the playful nature of the piece fires up our imaginations and reminds us how much fun it can be to mix and match design and type elements when we’re not doing it on a computer screen and on schedule. .

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