16 FEBRUARY 2014 | CUSTOM TYPEFACES
A Wide width in three weights has been added to Schnyder for this year's issues of <i>T, the New York Times Style Magazine</i>. <a href="https://commercialtype.com/news/updates/schnyder_for_t">Schnyder was originally designed</a> by Berton Hasebe and Christian Schwartz for the 2013 top-to-bottom redesign by creative director Patrick Li and his team of Shawn Carney and Aurelie Pellissier. Schnyder Wide expands the family in some interesting new directions, on one hand bringing a new airiness to the headlines on the elegant, understated opening spreads for the cover story on Phoebe Philo; on the other hand, the Wide provides even more variety of widths for the designers to play with in the mixed-width headline treatments that are a signature of T's display typography, particularly with a handful of extremely wide alternate forms.
15 NOVEMBER 2013 | CUSTOM TYPEFACES
This year, <a href="http://businessweek.com"><i>Bloomberg Businessweek</i>’s</a> 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.<br><br>Compared to the existing Text version, which is drawn for use around 8pt to 12pt, the Agate, drawn for use at 4pt to 6pt, has a larger x-height, smaller cap height, looser spacing overall, and ink traps to counteract the effects of ink on paper, which has a dramatic effect on text set at such small sizes. In order to deal with long company names and very large numbers, condensed versions were created for some parts of the character set.<br><br>As one final touch, we made an agate version of the logotype, ensuring it would remain readable on the spine at 2.76mm tall, or about 5pt.<br><br>Update 13 December: It took less than a month for this Agate to be used as the primary display face on a cover. The aesthetic of inktraps never really goes out of style…<br><br><i>Neue Haas Grotesk Agate will not be available for licensing.</i>
15 SEPTEMBER 2013 | CUSTOM TYPEFACES
Once known as Zizou, and before that Clouseau, Christian Schwartz's <strong>Duplicate</strong> has expanded from a small family of sans serifs into a 3-family collection. In addition to the Sans and Slab first seen in Florian Bachleda's 2011 redesign of <i>Fast Company</i>, the family has been rounded out with the Clarendon-inspired <strong>Duplicate Ionic</strong>, designed by Miguel Reyes (directed by Schwartz) for a redesign of Zurich's <i><a href="http://nzz.ch">Neue Zürcher Zeitung am Sonntag</a></i> recently completed by <a href="http://markporter.com">Mark Porter</a> and <a href="http://estersonassociates.com">Simon Esterson</a>. The complete collection is being readied for released before the end of 2013.
08 AUGUST 2013 | CUSTOM TYPEFACES
Iconic British style and interiors magazine <a href="http://wallpaper.com"><i>Wallpaper*</a></i> 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. <a href="http://commercialtype.com/typefaces/graphik">Graphik</a> has been retired after nearly six years as the primary display face, along with Lexicon and Big Caslon. The new type palette features <b>Darby</b>, a brand new typeface by Paul Barnes completed for this redesign, plus Berton Hasebe's <b>Portrait</b>, which is now complete and will be released in September. <br><br> Darby is a humanist sans serif that follows the form of the 18th century English Transitional, particularly the work of Joseph Fry, but reinvents it for the 21st century. The high-contrast display version echoes the early sans serif lettering tradition on the late 18th century, as shown in James Mosely's treatise on the sans serif <i>The Nymph and the Grot</i>. It can equally be described as a serif typeface without serifs, and as a sans with much higher contrast than normal. Darby Sans Text is a low-contrast variation on the same design, with a larger x-height and an aggressively slanted italic. Paul designed both families with the help of Australian type designer <a href="http://typelab.co">Dan Milne</a>. The typeface is named for the the Darby dynasty, a Quaker family who played a leading role in the Industrial Revolution in England, including the building of Ironbridge. This project's initial roots lie in the exploration of historical English lettering that also yielded Chiswick (formerly Wyatt), designed by Paul for <i>O, The Oprah Magazine</i>. <br><br> The quiet elegance of Darby plays nicely against the aggressive beauty of Berton Hasebe’s Portrait, which started out as an experiment in drawing a display typeface that managed to be both beautiful and brutal, and both classical and minimalist. The family draws its main inspiration from the Renaissance forms of French punchcutter Constantin. He cut what is believed to be the first true display typeface (at 32pt), with a lowercase to accompany its titling capitals. Its light, delicate forms were a major influence on the large types cut by Augereau and his apprentice Garamond, among other punchcutters of the time. Portrait is a depiction of the French Renaissance oldstyle, rather than a true revival, as it merges Constantin’s classical forms and proportions with a minimalist approach to details and sharply pretty Latin serifs. Portrait's heavier weights show the influence of the chiseled forms of German expressionist woodcuts. <br><br> Portrait was previously used in <i>Document Journal</i>, a New York-based fashion and arts magazine, but <i>Wallpaper*</i> marks the first appearance of the Inline, put to great use in the Newspaper section and in a special section on design in Taiwan. <br><br> The redesign carries through to the iPad edition and the typefaces will soon appear on the website as well.