English / 한국어
The Prisoner of Zenda by Anthony Hope, the seventh volume in the series, tells the story of an Englishman who travels to a fictitious country called Ruritania for holidays, and ends up acting as a political decoy of the country’s drugged King for his resemblance to the monarch. While Mireille Fauchon’s make-believe illustrations of Ruritania play with the essentially imaginary nature of exotica, the theme of doppelgänger informs Morgan’s typography and book design. The title label on the cover is doubled by a hologram, suggesting the notion of authenticity. The display typeface, Rudy, was designed specifically for this publication by Morgan and Adrien Vasquez. The vertically repeated characters vaguely remind of blackletter types, hinting at the fictitious central-European identity of Ruritania. The body text is set in Renner Antiqua designed by the German typographer Paul Renner, which retains a dual identity of being both modern (upright, constructed uppercases) and “medieval” (more fluid, calligraphic lowercases). The typography is completed by the repeated paragraph marks.
Dracula. 2008
The Prisoner of Zenda. 2011
