13 APRIL 2014 | CUSTOM TYPEFACES
A small addition to Graphik debuted in today's issue of <i>T, the New York Times Style Magazine</i>: Graphik Titling, based on the as-yet unreleased Condensed, X Condensed, and XX Condensed widths of Graphik, reworked and redrawn to have 3 widths of the letters with the same stroke weights, in 3 weight variations. This allows the designers to use Graphik for the same eccentric and distinctive mixed-width headline treatments that Schnyder was designed for.
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.