Tim gave a lecture titled The Past Inside the Future: Commercial Classics at Five on July 9 at the San Francisco Public Library, presented by Letterform Archive and Type West. The talk was recorded and is now available on YouTube.
Commercial Type teamed up with Food and c-ll-ct-v-ly to redesign a magazine known for continually reinventing itself. It landed on newsstands in June.
Control, a new sans serif designed by Christian Schwartz and Miguel Reyes, has no “correct” version. It can express itself as a tastefully legible mid-century grotesk, or it can morph into a tightly spaced headline face straight out of the 1970s.
When the Helsingin Sanomat design team commissioned two narrower styles of their headline typeface in 2023, we produced two new families—Sanomat Condensed and Sanomat X Condensed—along with a variable font to give users access to the widths in between.
Under the creative direction of Shiva Nallaperumal of November, Graphik has branched out into Bangla, Devanagari, and Tamil.
A new sans serif from Greg Gazdowicz revisits a bygone era of print production: phototypesetting in the 1970s, when type as a whole lost some of its sharpness.
A new variable font designed by Paul Barnes and Greg Gazdowicz fuses the highly contrasted Modern and the rugged Ionic along the axes of contrast and weight, opening up a range of possibilities in the space between them.
Commercial Type created a new logo system for American luxury leather goods company Mark Cross, drawing on their rich 179-year history, in collaboration with illustrator Caroline Church and creative director Povilas Utovka.
Sometimes you want or need friction and sometimes you don’t. Greg Gazdowicz’s Terza offers varying degrees of resistance; we made a minisite to show Terza’s three modes—Reader, Author, and Editor—in action.