This book, which falls open with pure softness, is a masterclass in typographical freakery, as it takes a huge amount of professional competence to implement this in such a hardcore way. Without a single illustration, this book nevertheless seems richly illustrated through the use of 115 fonts for the same number of terms. Happily, the result in no way resembles a mish-mash of cheap trickery. Thanks to smart, precisely printed minimal margins and a ton sur ton collection of paper types, the execution is in fact extremely tasteful.

The sections on greyish, at times wood-pulp based, paper do not correspond exactly to the chapters and, although nothing a new, here this has been implemented well. The result is a typographically consistent book that is far from dull. It could even be described as colourful. It’s a somewhat regrettable that the printer apparently did not warn for the risk of too little space for the text on a number of the title pages between sections.

Rigorously reflecting the mentality exuded by the interior, the typography is beautifully corresponding on the cover: this too is drawn from the index of fonts. The barcode on the front is a nice touch. This exclusive treatment may make this a publication that is not accessible to all; rather, it is pure and precise.