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A Proper Drink by Robert Simonson, Ten Speed Press

Contributed by Florian Hardwig on Oct 17th, 2016. Artwork published in .
    SIMO_A Proper Drink.jpg
    Source: Ten Speed Press / Penguin Random House. License: All Rights Reserved.

    The Untold Story of How a Band of Bartenders Saved the Civilized Drinking World

    Penguin Random House:

    […] the first-ever book to tell the full, unflinching story of the contemporary craft cocktail revival. Award-winning writer Robert Simonson interviewed more than 200 key players from around the world, and the result is a rollicking (if slightly tipsy) story of the characters–bars, bartenders, patrons, and visionaries–who in the last 25 years have changed the course of modern drink-making. […]

    The main font use on the cover is not one of the many designed by the author’s cousin. Neither is it Dala Moa. This is the black weight of František Štorm’s St. Croce, a typeface “inspired by worn-out letterings on tombstones in the St. Croce basilica in Florence.” [Storm Type Foundry] Santa Croce was Ksenya Samarskaya’s pick for Typographica’s Favorite Typefaces of 2014. Cover designer Christopher Brand used it in all caps, paired with the (small cap) lowercase of Sackers Gothic.

    The interior was designed by Lizzie Allen, who also did the production. She combined Williams Caslon as main text face with Drescher Grotesk for chapter headings, lead-ins and ingredients, and perfected the mix with Caslon 224 Bold Italic for the cocktail names.

    Source: Lizzie Allen. License: All Rights Reserved.
    Source: Lizzie Allen. License: All Rights Reserved.


    • St. Croce
    • Sackers Gothic
    • Drescher Grotesk
    • Williams Caslon Text
    • ITC Caslon No. 224




    Artwork location

    2 Comments on “A Proper Drink by Robert Simonson, Ten Speed Press”

    1. Blythwood says:
      Nov 8th, 2016  1:22 am

      A really great set of choices all round.

    2. Blythwood says:
      Oct 31st, 2017  11:37 pm

      Incidentally as a comment, I’ve read a lot of material printed in WCT and while I’d call it pretty much perfect on paper (limited character set aside) its bold is not that bold and doesn’t instantly jump out at you (the way, say, Adobe Caslon’s or Bembo’s does). That could be why Allen decided to use Drescher Grotesk on the lead-ins to pump up the contrast.

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