News from 2014

Venerable architecture, interiors, and product design magazine Metropolis has unveiled a clean, smart, and well-structured new look with their December 2014 issue, designed by Adam Lucas and Andrew LeClair, using Marr Sans and Publico Text and Text Mono throughout.

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 happ...

We've printed a set of three posters for Dala Prisma, and they've been wheatpasted around New York and London.

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 ...

Chris Dixon and Christian Schwartz will be speaking together at a TDC Salon, focusing on Chris's redesign of Vanity Fair and the typeface family that Christian and Paul designed for him.

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.

Paul Barnes and Christian Schwartz have drawn a custom version of Paul's Caslon Doric Black for the identity of the 2nd Istanbul Design Biennial, designed by Project Projects. 

Ariel Cepeda has redesigned Le Dimanche Matin, the Sunday edition of the Lausanne-based French language Daily Le Dimanche, serving the Vaud region. Headline typography is in Kai Bernau's Lyon Display and Produkt, a slab serif companion to Graphik designed by Berton Hasebe with Christian Schwartz, slated for release in November 2014.

Paul will be one of the speakers at a symposium on Didot and Modern typefaces on 16–17 October 2014, organized by Sébas­tien Morli­ghem. The other speakers include James Mosley, François Rappo, and Loïc Sander.

We had some of our 2010-2014 type specimen books left, but we overwhelmed by demand, and they went much more quickly than we expected. We plan to print a new specimen in 2015, so do send your address if you would like to be on the mailing list for the next one: specimen@commercialtype.com.

Commercial Type is delighted to announce the release of Darby Sans, a contemporary family of two related sans serifs: one is the functional Darby Sans; the other a more delicate and refined display version for large sizes, where the contrast is dramatically higher. Drawn by Paul Barnes together with Dan Milne, the roots of Darby lie in the British tradition of lettering and typefounding that be...

Paul will be speaking at an event held by LongLunch in Edinburgh, Scotland, where he will discuss Marr Sans, among many other things.

Miguel Reyes lettered a number of headlines and dropcaps for Bon Appétit’s October 2014 "Party Issue" special package.

Pentagram designed new opening titles and bumpers for the 40th season of Saturday Night Live, which debuted on September 27. Berton Hasebe drew a custom version of Druk Condensed, slightly lighter and wider than the existing version.

We are delighted to announce our new Webfonts Showcase, a set of sixteen microsites, each showing a different family from our library and highlighting a different aspect of its personality. See it now at showcase.commercialtype.com.

Commissioned by Alex Grossman and Kristin Eddington, Miguel Reyes and Christian Schwartz provided eleven pieces of lettering for the 2014 Hot Ten, Bon Appétit's annual list of the ten best new restuarants in the US.

Commercial Type designer Miguel Reyes will be conducting a 2-day lettering workshop and giving a talk entitled "Tipos Comerciales" at the 2014 Tipos Latinos conference in Bogotá.

Another part of Paul Barnes's onging Chiswick project, first seen in O, the Oprah Magazine in 2010, and later in Document Journal in 2013, has made its public debut in the latest edition of ’SUP MAGAZINE.

The forms of Commercial Type's latest release, Publico Text Mono, feel at once familiar and alien—recognizable as Publico, but with a distinctly strange texture. Greg Gadzowicz added the italics in 2014. In keeping with the un-designed aesthetic, the italics are optically corrected obliques.

Paul Barnes's Marian was designed for large sizes only, but the concept for the family was always about reduction to the underlying skeleton, rather than size, so Marian Text applies these principles to make a family that works for small sizes. Suddenly Marian is no longer just a beautiful series of display faces, but a useful text family.