Midnight’s Children is a 1981 novel by Indian-British writer Salman Rushdie, published by Jonathan Cape with cover design by Bill Botten, about India’s transition from British colonial rule to independence and partition. It is a postcolonial, postmodern and magical realist story told by its chief protagonist, Saleem Sinai, set in the context of historical events. The style of preserving history with fictional accounts is self-reflexive.
Source: historical.ha.comHeritage Auctions. License: All Rights Reserved.
Beautiful design and typography!
For anyone who is interested, the designer of Fino, Keith Morris, lives in Sydney and is active on Instagram where he posts beautiful typographic explorations, calligraphy, etc. His Instagram username is keith_typo.
I see what you mean. With the characteristic shape for S, the round-top A and M, and the curving R leg, it’s definitely patterned after Fino. But the letterforms were made slightly heavier, some got narrower proportions, spurs were added to glyphs like d and n, and g was completely reimagined.
Unless there was a close copy of Fino (I’m not aware of such a typeface), I’d assume that the jacket designer drew the lettering themselves, based on Fino. I’ve added our “lettering derived from typeface” tag. Here’s a glyph set of Fino, for future reference.
Glyph set for Fino as shown in Modern Publicity 1974. Scan courtesy of IADDB.
Keith, Font Factory in Sydney once sold a font family named Finessimo, in two weights, credited to Maurice Schlesinger. I assume this was an authorized digitization of Fino (and Bauhaus Rounded a digital version of Cut-In). Do you happen to know more about this? It looks like these fonts disappeared with the demise of Font Factory around 2015.
Also, Klingspor-Museum mentions a second weight for Fino. Is this real? I have yet to find a Fino Bold in my Letraset catalogs.
7 Comments on “Midnight’s Children by Salman Rushie”
Beautiful design and typography!
For anyone who is interested, the designer of Fino, Keith Morris, lives in Sydney and is active on Instagram where he posts beautiful typographic explorations, calligraphy, etc. His Instagram username is keith_typo.
Thanks for the rec, Robert! Keith’s stuff is beautiful.
Thank you for the compliments. Unfortunately this is not the original Letragraphica FINO font that I did with Maurice Schlesinger.
Thank you for chiming in here, Keith.
I see what you mean. With the characteristic shape for S, the round-top A and M, and the curving R leg, it’s definitely patterned after Fino. But the letterforms were made slightly heavier, some got narrower proportions, spurs were added to glyphs like d and n, and g was completely reimagined.
Unless there was a close copy of Fino (I’m not aware of such a typeface), I’d assume that the jacket designer drew the lettering themselves, based on Fino. I’ve added our “lettering derived from typeface” tag. Here’s a glyph set of Fino, for future reference.
Glyph set for Fino as shown in Modern Publicity 1974. Scan courtesy of IADDB.
Keith, Font Factory in Sydney once sold a font family named Finessimo, in two weights, credited to Maurice Schlesinger. I assume this was an authorized digitization of Fino (and Bauhaus Rounded a digital version of Cut-In). Do you happen to know more about this? It looks like these fonts disappeared with the demise of Font Factory around 2015.
Also, Klingspor-Museum mentions a second weight for Fino. Is this real? I have yet to find a Fino Bold in my Letraset catalogs.
I believe Maurice did some fonts for Font Factory, I think with the name Bauhaus. I’m not sure.
Maurice sadly passed away a few years ago.
Regards,
Keith Morris
Thank you, Keith. Yes, I’ve been in touch with Maurice’s daughter and was aware of his demise. Sorry for your loss.