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I love the bookplate style you used for the edges of frames! The image on the front is great, too.
For the title on the cover, I see where you're trying to go with it, but I think all the different fonts and colors are competing with each other (and with the image; the title plate should probably hold more visual weight than the image). It feels to me like this brochure is old vs. new and that defeats the style. From the images and frames, the style feels like it wants to be traditional and vintage, but the fonts (sans serifs) tell me it wants to be modern. Did you try a serif font like Caslon? The one that comes with the Adobe software has a lot of great open type features like true small caps that give you versatility in your styles. I think the "too much text" could be lightened up by simply using a lighter font. This one feels very heavy on the page.
Also on the title plate, the "Great Benefits" might be better to use somewhere else. To me, it feels awkward there. Is there a place you list the benefits? Maybe it could go there?
I think the headers are a little too far away from the content they are headlining. Can you bring them up one line? Then you'll also have room on that first inside panel to drop the blue text below the subhead on the first paragraph.
Back panel, see if you can get rid of the widow word in the first paragraph. Adjust the tracking for the whole paragraph +/- 10 to see if you can either push more words down to the next line or bring that word up. You could also adjust the whole text frame to make it smaller. It looks a little too close to its visual frame anyway on the top and the sides, which creates tension. Let the copy breath a little more. The contact info could come up a bit too, so it's not too close to the bottom.
On the first inside panel (left side, top image), I would keep that image frame the same as all the others.
Do you think there is a place you could repeat the flourish you used in the title plate and then at the bottom of the left-most inside panel? Just for more unity.
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Thanks so much. I agree about placement of headers and flourish.
About the text:
Fenwick is another interesting family from Typodermic’s Ray Larabie. It was vaguely based on that designer’s silent movies font Silentina, but has a less quirky, more straightforward appearance. Although there’s a hint of 1900s nostalgia about it, it ultimately comes across as a contemporary yet historically informed text and display family. Its regular, light and bold versions work well in smaller sizes, with the imaginative oldstyle figures making the set all the more interesting. The striking shapes of the Outline and Olden varieties offer some compatible, tasteful display additions to a Fenwick family.
Anyway, if you have time to read all that you can see why I chose it.
I took the photo. The book used book sale is the big event of the year.