Custom Typefaces

The September 2011 issue of Fast Company is the latest step in a redesign by creative director Florian Bachleda, with Alice Alves and Ted Keller, introducing three new typeface families from Commercial Type: Kaiser, Zizou Sans, and Zizou Slab.

Berton Hasebe has designed Druk, a condensed sans serif in 4 weights, for Richard Turley and his team at Bloomberg Businessweek.

Esquire and Bon Appétit have both redesigned, and both are using newly drawn condensed widths of Graphik.

Berton Hasebe designed a new slab serif headline typeface in three weights for a complete revamp of the iconic Ebony by new creative director Darhil Crooks, which debuted with the April 2011 issue. Commercial Type also assisted with redrawing the nameplate, marking its first change since the magazine was founded in 1945.

After 5 years with Stag, the US edition of Esquire was ready for a change. In additon to adding two new sections and replacing Stag Sans with Graphik, they also commissioned a new serif display face called Granger, designed by Kai Bernau and Susana Carvalho.

Caponi was designed by Paul Barnes and Christian Schwartz for a subtle tweak of Entertainment Weekly on the occasion of the magazine's 20th anniversary. Commissioned by (and named for) design director Amid Capeci, Caponi is based very loosely on some of Giambattista Bodoni's earliest types.

Pialat is the latest display face designed by Commercial Type for T, the New York Times Style Magazine. Senior Art Director Chris Martinez was very taken with lettering in the titles for À nos amours, a 1983 film by French director Maurcie Pialat, and asked us to use these forms as the starting point for a new typeface. Berton Hasebe drew the face in two variations, one with conventional hairli...

The September 2010 issue of O, The Oprah Magazine debuted with an all new look thanks to publication design specialists Robert Priest and Grace Lee of Priest + Grace, with whom we first worked on Condé Nast Portfolio. Commercial Type partner Paul Barnes created Wyatt, a serif headine typeface in five weights, specially for the redesign.

BusinessWeek relaunched as Bloomberg Businessweek with their latest issue. New creative director Richard Turley asked us to revisit our painstakingly faithful digital revival of Max Miedinger's original Neue Haas Grotesk, which had been commissioned but not ultimately used by The Guardian in 2004.

The Empire State Building lobby restoration was honored at the 20th Annual Lucy G. Moses Preservation Awards, held by The New York Landmarks Conservancy on 21 April 2010. Two Twelve Associates commissioned a set of two typefaces from Commercial Type for signage in the lobby and office floors and on the exterior, and we are proud to have been part of the restoration effort.

Paul Barnes created lettering and numbers for all teams outfitted by Puma in the 2010 Africa Cup of Nations. Egypt have retained the cup, beating Ghana 1-0, and both teams were wearing kits designed by Puma.

Commercial Type, in collaboration with Susana Carvalho and Kai Bernau at Atelier Carvalho Bernau, have designed a new corporate typeface for German reinsurance giants Munich Re.

With their 5th Anniversary issue, T, the New York Times Sunday style magazine, has unveiled their first complete redesign since the magazine was founded. As part of this redesign, Berton Hasebe has drawn a hairline Fraktur called Karl.