Previously known as Zizou, and before that Clouseau, Duplicate is a new family from Commercial Type that began as an experiment by Christian Schwartz to see what he would get if he drew Roger Excoffon’s iconic 20th century sans serif Antique Olive, a typeface Schwartz has long loved and admired, from memory.
This year, Bloomberg Businessweek’s year-end double issue is focused on the year ahead, but it also includes a number of very dense spreads of hard data from various industries, showing a snapshot of the current state of many companies. In order to pack as much information as possible into the limited space available, creative director Richard Turley commissioned an Agate version of Neue Haas Grotesk in a number of duplexed weights.
Once known as Zizou, and before that Clouseau, Christian Schwartz's Duplicate has expanded from a small family of sans serifs into a 3-family collection. In addition to the Sans and Slab, the family has been rounded out with the Clarendon-inspired Duplicate Ionic, designed by Miguel Reyes (directed by Schwartz) for a redesign of Zurich's Neue Zürcher Zeitung am Sonntag recently completed by Mark Porter and Simon Esterson.
We are very happy to announce the release of Portrait, a major new serif collection in 4 families totaling 29 styles, available today for desktop, web, and mobile app licensing. Portrait is Berton Hasebe’s sharply minimalist depiction of French Renaissance types.
Iconic British style and interiors magazine Wallpaper* has debuted a complete redesign with their September 2013 issue. The redesign was carried out by new creative director Sarah Douglas and art director Lee Belcher. The new type palette features Darby, a brand new typeface by Paul Barnes completed for this redesign, plus Berton Hasebe's Portrait, which is now complete and will be released in September.
Vanity Fair design director Chris Dixon has been refreshing the look of the magazine since he arrived in late 2011. Part of this upgrade was a new display typeface to replace the Didot the magazine has been using for nearly 20 years. After nearly a year-long design process, VF Didot, designed by Paul Barnes and Christian Schwartz, debuted on the cover of the August 2013 issue.
Dala Moa is a sans serif stencil typeface for display, sharing the proportions of its cousin Dala Floda. It takes the same inspiration – the erosion of letters on stones – but takes the idea one step further with the removal of serifs, revealing basic underlying structures.
We are happy to announce that the bulk of our library is now available for use on the web. We're now licensing fonts for embedding in mobile apps for iOS, Android, and Windows Mobile directly from our site as well.
Creative Director Richard Turley and his team, with help from consultant Mark Leeds, have refreshed Bloomberg Businessweek from top to bottom for the first time since their major redesign in 2010. The changes through the front section of the magazine are minor, but Etc. has been completely rethought, with an exuberant approach to display typography centered around the extremely condensed versions of Druk that Berton Hasebe drew for their 2011 year end issue, played against Berton's newly drawn Druk Wide.
Danish newspaper design specialists Ribergård + Munk commissioned a pair of headline typefaces from us as part of a sweeping overhaul of well over a dozen daily newspapers published throughout Sweden by MittMedia.
Commercial Type has released Guardian Sans Text, the final missing piece of the Guardian collection originally designed by Paul Barnes and Christian Schwartz for that daily newspaper’s iconic redesign in 2005.
Berton Hasebe and Christian Schwartz have designed Schnyder, a new serif display typeface, for the 2013 top-to-bottom redesign of T, the New York Times Style Magazine under new editor in chief Deborah Needleman and creative director Patrick Li and his team of Shawn Carney, Aurelie Pellissier, and Natalie Do.
Christian Schwartz drew a Fellini-esque 7 and handful of ornaments for the cover story on 7 great pasta dishes from brilliant New York chef Sara Jenkins (chef and owner of one of the studio's favorite restaurants, Porsena), for the February issue of Bon Appetit. Art director Elizabeth Spiridakis used xlyene transfers to give a warm and organic quality to all of the display type in the story.
Helsingin Sanomat is Finland's major daily newspaper, with a circulation of around 400,000 on weekdays. A broadsheet since its founding in 1905, the paper made the switch to tabloid format on 8 January 2013. We provided all of the type for the new design: Sanomat, a serif family for headlines in 8 weights; Helsingin, a sans family for display use in 9 weights; Helsingin Text in 6 weights; and a custom grade of Publico Text which has been fine-tuned for the Helsingin Sanomat's presses.
Paul Barnes's revival of a rounded sans serif originally produced by the Caslon foundry around 1839 provides levity in a special issue on investing, the final edition of Bloomberg Businessweek for 2012.