Publications

Hanya Yanagihara is now editor in chief of T, the New York Times Style Magazine, leading creative director Patrick Li and his staff to reimagine the look of the magazine from front to back, once again enlisting Berton Hasebe and Christian Schwartz to create custom typefaces for the redesign: Kippenberger, an all-purpose sans; and Fact, a compact and utilitarian serif.

The team of designers at Commercial Type recently worked to create a new typographic palette for the redesign of La Repubblica, a popular national daily newspaper in Rome, Italy. Combining three complete typefaces under the unifying theme of being uniquely Italian and refreshingly stylish; the Eugenio family consists of Eugenio Serif, Eugenio Sans, and Eugenio Text.

Creative director Darhil Crooks has commissioned a new display sans for The Atlantic. Drawn by Christian Schwartz, this typeface helps to give a new personality to the feature well.

Christian Schwartz drew a new display serif face called Gingrich for the 1000th issue of Esquire. The typeface is named for the founding editor of the magazine.

Christian Schwartz drew Graphik Round Black for Bon Appétit's 2015 Hot Ten, their annual roundup of the ten best new restaurants in the US.

Greg Gazdowicz drew an all-caps titling typeface for New York magazine’s 2015 fall fashion issue.

The Daily Telegraph has undergone a design transformation to mark its 160th anniversary. Under the guidance of design director, Jon Hill, one of the last remaining quality daily broadsheets in the UK has a completely new typographic dress from Commercial Type. Working closely with Hill was Commercial Type partner, Paul Barnes, who has developed two new type families as well as designing the new...

The McClatchy Company publishes 29 daily newspapers across the US. Working with Garcia Media, they have spent the last year developing a unified design language that will bring together the print papers, mobile apps, and web editions with a more consistent overall look. We designed a set of typefaces that will help to bridge the gap between design consistency and individual character.

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.

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.

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

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.

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.

Chiswick Sans High has had its first public use in issue number 4 of Document Journal, a New York-centric fashion, art, and culture magazine. started by Paul Barnes in 2009 when he was drawing Chiswick.

A small addition to Graphik debuted in today's issue of T, the New York Times Style Magazine: Graphik Titling, based on the as-yet unreleased Condensed, X Condensed, and XX Condensed widths of Graphik.

The latest issue of Wallpaper* uses Portrait Inline to great effect, along with the rest of the family and Darby Sans Text, for their 2014 Design Awards.

A Wide width in three weights has been added to Schnyder for this year's issues of T, the New York Times Style Magazine. Schnyder was originally designed 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.

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 G...

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 Mar...

The new logotype drawn by Christian Schwartz for Vanity Fair debuted on the 100th anniversary issue, dated October 2013. The look of the logotype refers both to the magazine's historical logotypes and to the new VF Didot typeface designed by Schwartz and Barnes for the magazine earlier in the year.