09 APRIL 2015
Christian Schwartz at the SND conference in Washington, DC
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
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
347 West 36th Street, Suite 603
New York, NY 10018
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.
16 OCTOBER 2014
Paul Barnes at “Les Didot et la typographie moderne (1782–1819)”
5 rue Henri Daussy
16-17 October 2014
Advance reservation required.
Paul will be one of the speakers at a symposium on Didot and Modern typefaces, organized by Sébastien Morlighem. The other speakers include James Mosley, François Rappo, and Loïc Sander. See more at the conference website (in French).
02 OCTOBER 2014
Paul Barnes speaking in Edinburgh
Edinburgh College of Art
Lauriston Place, Edinburgh
Thursday 2 October 2014
Doors at 7pm, lecture starts at 7:30pm
Tickets £8 / £6 for students
Paul will be speaking at an event held by LongLunch in Edinburgh, Scotland, where he will discuss Marr Sans, among many other things. Tickets will be on sale soon. Please see the event page for more information
19 DECEMBER 2014 | MAGAZINES | PUBLICATIONS
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.
11 DECEMBER 2014 | POSTERS
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.
01 DECEMBER 2014 | RELEASES
Dala Prisma is a development of the stencil typeface Dala Floda, replacing the solid forms with a series of stripes which vary in width, offering a wonderful optical effect. The family was conceived by Paul Barnes and drawn by Ben Kiel of Typefounding, using a purpose-built tool by the brilliant Frederik Berlaen, the creator of Robofont. Dala Prisma is available in three weights: Roman, with 3 strokes; Bold, with 4 strokes; and a striking Fat, with 5 strokes.
Stripes have always fascinated humans; we are drawn to and repelled by these forms found in the natural and manmade worlds. In the visual arts we find them everywhere. Typefaces with inscribed lines appeared in the Eighteenth century, but the first striped letter was probably made by Edmund Fry during the early years of the Nineteenth century. During the twentieth century the Klingspor foundry released a version of Rudolf Koch’s Kabel, named Prisma in the early 1930s, seemingly inspired by the striped neon letters found at night across Germany. In Dala Prisma, this optical effect is applied to the Renaissance style stencil, Dala Floda. The variation between thick and thin is exaggerated with multiple lines, which increase in number as the typefaces becomes bolder. With both roman and italic variants, Dala Prisma is a uniquely powerful display typeface.
Like Dala Floda, Dala Prisma has a full set of typographic features, including small capitals for the romans, an extensive set of ligatures, and expressive swash alternates for many italic capitals. The extreme thinning of lines means this family only works at large display sizes.
04 NOVEMBER 2014 | RELEASES
Drawn by Berton Hasebe, Produkt is the slab serif version of the sans Graphik family. This typeface follows the twentieth century tradition of adding slabs to a European Grotesk to create an attractive and functional companion serif typeface. Its serifs are relatively short, particularly in the heaviest weights, so it retains the compact proportions and regular texture that characterize Graphik.
The idea of adding serifs at Graphik at first seemed too obvious, and Christian Schwartz had dismissed the idea out of hand, but demand from users of the original made us speculate that it might be worth exploring. Berton Hasebe’s early sketches had an unexpected charm: the warmth of Graphik shone through, with the shortness of the serifs keeping it from looking clumsy. Hasebe then finished the family to match the full range of weights that make Graphik so useful. The light weights are pretty, the middle weights are functional, and the heavy weights have a feeling of authority, all suffused with the appealing geometry seen in Graphik. A handful of alternates change the overall tone of the typeface to a surprising degree.
The family made its debut in Ariel Cepeda's redesign of the Sunday edition of Le Matin, a French-language newspaper published in Lausanne, Switzerland. The heaviest weights give punch to section heads, while the other weights give structure to the opinion and sport sections. The light weights are used throughout Femina, the newspaper's weekly magazine for women.