06 MAY 2015

Paul speaking at the National Print Museum in Dublin

National Print Museum
Garrison Chapel
Beggars Bush Barracks
Haddington Road
Dublin 4

6 May 2015

Open to the public. Advance booking strongly recommended.

Organized by the National Print Museum in conjunction with Typography Ireland. Tickets are limited, please contact to reserve a place. Time will be announced closer to the date.

29 APRIL 2015

Paul speaking at Northumbria University

School of Design
Northumbria University, Newcastle

Wednesday 29 April

Not open to the public

Paul will be speaking at the School of Design at Northumbria University, together with the brilliant book cover designer David Pearson.

09 APRIL 2015

Christian Schwartz at the SND conference in Washington, DC

9–11 April 2015
Conference registration required to attend the special session

Christian Schwartz will be speaking on designing type for newspapers at a special session on type and typography at the Society for News Design conference in Washington, DC. This session has been organized by Roger Black, and the other speakers include David Berlow of Font Bureau and Dan Rhatigan of Monotype. For more information, see the main conference site or this page with info in the special session.

15 JANUARY 2015

Paul Barnes at Judges’s Night for the TDC

Paul Barnes will be one of the judges for this year's TDC Typeface Design Competition, and will also speak alongside Garson Yu at the Judges' Night. More information on the competition is available on the TDC site.

19 DECEMBER 2014

Brush lettering workshop with Miguel Reyes in Oaxaca

Centro de Investigaciones Culturales y Expresiones Artísticas de Zaachila (CICEAZ)​ Zaachila, Oaxaca

19-20 December

Open to the public, but limited to 15 participants. Advance registration is required.

Miguel will be giving a 2-day workshop on brush lettering as part of the Proyecta series of events being held between December and February to promote design and innovation in the state of Oaxaca in Mexico. Miguel's workshop will be free of charge but is limited to 15 participants. For more information or to sign up, see the Proyecta website or the page for the workshop. Commercial Type is happy to have sponsored this series of events with a license for the Duplicate collection, which has been used to great effect in their branding.

11 NOVEMBER 2014

Redesigning Vanity Fair: Chris Dixon & Christian Schwartz at the New York TDC

Type Directors Club
347 West 36th Street, Suite 603
New York, NY 10018

November 11

Open to the public. Free for TDC members, $15.00 for student non-members, $20 for other non-members.

From the TDC website: Chris Dixon arrived at Vanity Fair in 2011 from New York magazine. He began reworking the typography, page design, illustrations, infographics, and photography to evolve the iconic publication section by section. In 2012, he started his collaboration with Christian Schwartz and Paul Barnes of Commercial Type on a six-month process to redesign Vanity Fair’s logo and create a new custom display typeface, a fresh interpretation of Didot that debuted in 2013. For more information or to register online, see the TDC site.



Canela by Miguel Reyes in Document Journal

Our friends and studiomates at Document Journal have published their sixth issue. Creative director Nick Vogelson selected the Headline and Deck sizes of Miguel Reyes's typeface in progress Canela for all display type in the issue. Among Miguel's influences are the familiar warmth of Caslon and the eccentric elegance of Albertus, and the final result is neither a serif nor definitively a sans. Canela's air of warmth, quiet and grace is very well suited to the long decks and pullquotes in the issue, and its texture works well for the surrealist use of repurposed news headlines as titles for the fashion pictorials.

Canela follows in the footsteps of Portrait and Chiswick Sans, which each had a turn as the primary display typeface in the magazine long before their release.

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New release: Druk Text by Berton Hasebe

Berton Hasebe has added two new families to the Druk collection: Druk Text and Druk Text Wide. These families are designed to be useful for the small elements of display typography that give structure and texture to a page without requiring dramatic changes in scale. Each is comprised of 4 weights with italics.

Druk Text is a display face designed for use at small sizes, useful for adding structureand personality to a page without requiring any variation in point size. The family is ideal for section titles, running heads and running feet, labeling on maps, and thanks to its tabular figures, it can even be used for tables, charts, and infographics. It also works for short blocks of text, maintaining excellent legibility all the way down to 6pt.

While Druk Text was designed to fulfill a general functional need, Druk Text Wide has its roots in a specific era of graphic design. While studying catalogs designed by Willem Sandberg for the Stedelijk Museum, Berton Hasebe noticed frequent use of small sizes of Annonce Grotesk, a very wide and bold sans serif, for running feet, headers within text, and other small navigational elements. Unable to think of a contemporary typeface able to handle this job with the same ease and panache, he was inspired to adapt Druk Wide for small sizes. Druk Text Wide can also be used sparingly for short blocks of text, but it is primarily intended for display use at small sizes. Like Druk Text, it maintains its legibility all the way down to 6pt and below.

Though Druk Text has a decidedly condensed proportion, and feels extremely narrow at small sizes, the family is much wider and sets much looser than Druk. In addition to the change in proportion and tracking, terminals on characters like a, e, and s have been opened up to maintain legibility at small sizes, and small details and punctuation have been exaggerated for clarity. Druk Text Wide, on the other hand, appears quite wide and heavy in comparison to a typical text typeface, but the family is considerably narrower and lighter than Druk Wide, and also has shorter terminals for more open apertures. The Super weight of Druk Text Wide first appeared in the Etc section of Bloomberg Businessweek, bringing complexity and the same distinctive personality to small type that Druk Wide brings to the large headlines.

Druk Text and Druk Text Wide are available for use on the desktop, for self-hosted web use, and for embedding in mobile apps.

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Metropolis redesigned with Marr Sans, Publico, and Druk

Venerable architecture, interiors, and product design magazine Metropolis has unveiled a clean, smart, and well-structured new look with their December 2014 issue. The redesign was done by New York-based designers Andrew LeClair and Adam Lucas, using Marr Sans and Publico Text and Text Mono throughout. Marr Sans performs admirably at all sizes, bringing subtle personality to delicate feature headlines, while keeping captions and both short and long blocks of text readable in the front section. Publico Text and Text Mono are mixed intelligently in the interviews, giving a distinct separation between the voices of the interviewer and interviewee while keeping them on equal levels in the hierarchy. Publico Text Mono also brings personality to very small text, including the magazine's spine, with its unusual texture. The logotype is set in Berton Hasebe's Druk, slightly modified to lock up tightly on the cover.

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Posters for Dala Prisma in New York and London

We've printed a set of three posters for Dala Prisma, and they've been wheatpasted around New York and London. Please let us know if you see the posters around. We will be making a number of them available for purchase in early 2015. Watch this space for more information.

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