Identity system · self-initiated

Margin

An independent press publishing fiction in translation. The covers cannot illustrate the books, because a translated novel is sold on the strength of the imprint before anyone has heard of the author. So the cover carries a mark instead of a picture, and every mark is cut from the same three shapes.

Client
Fictional, self-initiated
Sector
Publishing, translated fiction
Scope
Mark system, covers, catalogue, screen
Method
After Alvin Lustig and Saul Bass
Built
CSS shapes, overprinted
01

The mark

Three shapes, two inks, and no drawing. Lustig built his covers for New Directions from cut paper and let the overlaps make the third colour, which is the whole trick reproduced here.

Fixed
Three shapes. Never two, never four. Two inks from the set of three.
Cut
Shapes come from a closed set of seven. Nothing is drawn freehand and nothing is illustrative.
Overlap
The inks overprint. Where two shapes cross they make a third colour that is never specified anywhere: darker on stock, lighter on a lit screen.
Result
Every book gets a mark nobody had to invent, and every mark is obviously from the same house.
Circle
Half
Quarter
Leaf
Triangle
Block
Arch

The closed set. Seven shapes, chosen three at a time.

02

Colour

Two warm inks and a cool one, on an oatmeal stock. The overlaps below are not colours anybody picked. They are what the press gives you when two transparent inks sit on top of each other.

Teal#1F6F63The cool ink. Carries the largest shape more often than not.
Rust#AF4D29The warm ink, and the only colour allowed in running text.
Ochre#DFA53AThe light ink. Always the shape underneath, never on top.
Stock#F7F1E3Uncoated 300 gsm for covers. Never white.
Ink#241F1AAll type. A brown-black, so it sits with the stock.
Teal over rust
Rust over ochre
Teal over ochre

Three legal pairs, three free colours.

03

Typography

A text serif for anything a reader reads at length, and a geometric sans in small caps for everything the trade needs: series numbers, translator credits, prices, spine data.

Cover title
Newsreader 400
The Salt Line
Author
Newsreader italic 300
Ana Ferrer
Running text
Newsreader 16 / 26
She had been told the border was a river, and it was not a river. It was a line somebody had agreed to in a room a long way from here, and the salt had come afterwards, the way salt does.
Trade data
Jost 500, tracked
Margin International · No. 11 · £12.99
Pairing
The sans never sets a sentence and the serif never sets a label. Neither is allowed to do the other's job.
Tracking
Trade data is tracked to a quarter of an em. It is the only tracked setting in the system.
Case
Titles keep their own capitalisation. A title is a sentence, not a sign.
04

Cover architecture

The same division on every book. Mark above, rule, then the words. The proportion never changes, which is what lets the marks be as different as they like.

Field · the mark, full bleed Series line Title Author Translator

Cover, 129 × 198 mm

The field
Approximately three fifths of the cover, always. It bleeds on all three outer edges.
The rule
A single hairline separates image from words. It is the only rule on the cover.
Alignment
Everything below the rule ranges left from the same margin. Nothing is centred.
The mark
Never crosses the rule, and never repeats between books in the same series.
05

Cover series

Three books from the international list. One architecture, three marks, and the overlaps doing the work that a photograph would have to do otherwise.

Margin International · 11

The Salt Line

Ana Ferrer

Translated from the Spanish by H. Oyelaran

Margin International · 12

Nightwork

Jonas Holm

Translated from the Danish by R. Vestergaard

Margin International · 13

A Room of Weather

Yuki Sato

Translated from the Japanese by E. Marsh

Numbers eleven to thirteen, spring list

06

Applications

On a shelf the marks become a pattern, which is the point of a series. In a catalogue they shrink to a thumbnail and still tell you which book is which.

The Salt Line11
Nightwork12
A Room of Weather13
The Given Day14
Cold Harbour15

Spines, the series as a shelf

Margin International · 12

Nightwork

Jonas Holm

First published in Danish 2019
This translation 2027
Set in Newsreader and Jost
Printed on uncoated 300 gsm

Title spread

ListSeriesAboutRights

New this spring

A Room of
Weather

Yuki Sato's third novel, and the first to appear in English. Thirteen days in a house where nobody agrees about what the weather is doing.

Read an extract

Website, the mark carried straight through

Margin · Spring 2027

The
List

  • 11The Salt Line
    Ana Ferrer
    12.99
  • 12Nightwork
    Jonas Holm
    12.99
  • 13A Room of Weather
    Yuki Sato
    13.99
  • 14The Given Day
    Ilse Brandt
    12.99
  • 15Cold Harbour
    M. Aguirre
    14.99

Five books this season, four of them first translations. The list is short on purpose: we publish what we can sell by hand.

Format 129 × 198 mm, paperback with flaps

Rights All languages except Spanish and Danish

Orders trade@marginpress.example · +44 20 7946 0000

Catalogue, A5

07

What breaks it

Every one of these will be requested by somebody who means well, usually a fortnight before the catalogue goes to print.

×
Do not use opaque inks Without the overprint the shapes just sit on top of each other and the third colour never appears. The overlap is the entire idea.
×
Do not make it a picture Three shapes arranged into a house, a face or a bird turns a system into an illustration, and the next book has to compete with it.
×
Do not add a fourth shape Three shapes can always be read at thumbnail size. Four cannot, and the catalogue is where most of these books are actually sold.
× The Salt Line
Ana Ferrer
Do not centre the words Centring reads as self-published, and it breaks the alignment that makes five spines look like one series.