In collaboration with GrayBits and Studio Vance Wellenstein, we are proud to unveil a complete reimagining of our website. Perhaps the biggest change is that Commercial Type and Commercial Classics are now one library, under one roof, but every detail has been reconsidered.
With Successor, Tim Ripper revisits the often bumpy and disjointed trajectory of the bracketless subset of slab serifs known as the Egyptian, arriving at a focused contemporary type family that is both speculative and intensely loyal to the original types’ character and warmth.
We are happy to announce The Food Issue, a one-off publication designed to show the extensive range of our text typefaces. See it at foodissue.commercialtype.com
As part of his takeover of It’s Nice That in August 2022, Richard Turley’s studio Food invited us to take part in a speculative branding project for a fizzy drink, using AI at each step to help with the process. We enjoyed taking part in this clear-eyed (and somewhat tongue in cheek) exploration of how AI can actually be useful to the design process.
Paul Barnes and Tim Ripper have designed Spiller for the Victoria and Albert Museum. It offers a multiple range of styles and expressions based on a basic skeletal structure. This allows a unity of voice on screen, print and signage across the large number of venues within the V&A, whilst allowing an individuality when required.
Greg Gazdowciz was the lead designer on Roboto Serif, a serif companion for Roboto designed for comfortable reading on screen. This family is designed to embrace the functional side of variable fonts, with weight, width, optical size, and grade axes.