Intermezzo is Irish writer Sally Rooney’s latest novel. The “exquisitely moving story about grief, love and family” was published in the UK in September 2024 by Faber & Faber. It comes with a modern and thoughtful book cover with bold graphic design and an unconventional mix of typefaces.
The book jacket was designed by in-house designer and illustrator Kishan Rajani (you can read about the process in an interview for GQ). It features three main elements stacked upon each other on a white background: the author’s name, in Maax Display Ultra, shown in the signature electric blue also seen on the book’s back and in much of the marketing campaign, which started months before the release. Underneath sits a square illustration featuring a man’s silhouette standing in the background while the legs of another walking man frame the picture in the foreground, with a fallen chess piece at his feet. The third element is the title, set in the open-source font Le Murmure, also in all caps.
The whole communication makes thorough use of the typeface duo and of the blue-white-black trichromy; on posters, tote bags, the dedicated website, coffee cups, enamel pins, stickers, T-shirts, etc. The publisher even organized live jacket design events where illustrators (Yuk Fun, Maria Ines Gul and Nänni-Pää) would draw custom designs onto jackets that were printed out with the illustrated square left blank.
The hardback version is available both with a white and a blue background. Review copies of the book were also sent out featuring a temporary cover that already featured the distinctive colors and fonts, but not yet the illustration.
The German hardback edition (translated by Zoë Beck) by Claassen follows the same basic design as the one by Faber & Faber, also featuring Maax Display and Le Murmure.
1 Comment on “Intermezzo by Sally Rooney, Faber & Faber and Claassen editions”
Thank you, Arno! Jérémy also noticed this fine use of his Le Murmure, and submitted a post about it, too. Since we don’t post duplicates, I’ve merged several images and some of his notes and observations into this post – merci, Jérémy! Kudos to Matthijs for tracking down the missing font ID (and a shout-out to Identifont for providing helpful tools).