Publications

PUBLICATIONS | 5 AUGUST 2013

VF Didot for Vanity Fair

Vanity Fair design director Chris Dixon has been refreshing the look of the magazine since he arrived in late 2011. Part of this upgrade was a new display typeface to replace the Didot the magazine has been using for nearly 20 years. After nearly a year-long design process, VF Didot, designed by Paul Barnes and Christian Schwartz, debuted on the cover of the August 2013 issue.
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PUBLICATIONS | 24 MAY 2013

Druk Wide by Berton Hasebe for Bloomberg Businessweek

Creative Director Richard Turley and his team, with help from consultant Mark Leeds, have refreshed Bloomberg Businessweek from top to bottom for the first time since their major redesign in 2010. The changes through the front section of the magazine are minor, but Etc. has been completely rethought, with an exuberant approach to display typography centered around the extremely condensed versio...
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PUBLICATIONS | 9 MAY 2013

Duplex for MittMedia, a newspaper group in Sweden

Danish newspaper design specialists Ribergård + Munk commissioned a pair of headline typefaces from us as part of a sweeping overhaul of well over a dozen daily newspapers published throughout Sweden by MittMedia.
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PUBLICATIONS | 17 FEBRUARY 2013

Schnyder for T, the New York Times Style Magazine

Berton Hasebe and Christian Schwartz have designed Schnyder, a new serif display typeface, for the 2013 top-to-bottom redesign of T, the New York Times Style Magazine under new editor in chief Deborah Needleman and creative director Patrick Li and his team of Shawn Carney, Aurelie Pellissier, and Natalie Do.
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PUBLICATIONS | 21 JANUARY 2013

Custom lettering for Bon Appétit

Christian Schwartz drew a Fellini-esque 7 and handful of ornaments for the cover story on 7 great pasta dishes from brilliant New York chef Sara Jenkins (chef and owner of one of the studio's favorite restaurants, Porsena), for the February issue of Bon Appetit. Art director Elizabeth Spiridakis used xlyene transfers to give a warm and organic quality to all of the display type in the story.
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PUBLICATIONS | 8 JANUARY 2013

3 new families for Helsingin Sanomat

Helsingin Sanomat is Finland's major daily newspaper, with a circulation of around 400,000 on weekdays. A broadsheet since its founding in 1905, the paper made the switch to tabloid format on 8 January 2013. We provided all of the type for the new design: Sanomat, a serif family for headlines in 8 weights; Helsingin, a sans family for display use in 9 weights; Helsingin Text in 6 weights; and a...
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PUBLICATIONS | 2 JANUARY 2013

A rounded sans revival for Bloomberg Businessweek

Paul Barnes's revival of a rounded sans serif originally produced by the Caslon foundry around 1839 provides levity in a special issue on investing, the final edition of Bloomberg Businessweek for 2012.
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PUBLICATIONS | 19 NOVEMBER 2012

Publico Monospaced for Bloomberg Businessweek

Christian Schwartz created a monospaced version of Publico Text for Bloomberg Businessweek. Originally drawn (but not used) for the election special issue, it found its way into the November 19-25 2012 issue, in an article about the shady world of compounding pharmacies.
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PUBLICATIONS | 14 NOVEMBER 2012

Atlas Typewriter in IL

Creative director Francesco Franchi recently added Atlas Typewriter to the type palette of IL, a monthly magazine published by Il Sole 24 Ore, a business newspaper in Milan, Italy. Atlas Typewriter is used for covers and display typography in addition to being used for hard data in complex information graphics.
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PUBLICATIONS | 12 OCTOBER 2012

Bloomberg Businessweek Election Issue

Bloomberg Businessweek put out a special issue on the US presidential election this week, once again completely upending their standard format to tell a story in depth. For this graphics-intensive issue, we created a monospaced version of Neue Haas Grotesk (not planned for future release), for use in typesetting the issue's data. A set of alternates gives the face the ability to feel more like ...
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PUBLICATIONS | 11 OCTOBER 2012

Oboi for Wallpaper*

Wallpaper*'s November 2012 issue is the final of their for BRIC specials, each of which featured a custom typeface used throughout the issue. Christian Schwartz and Vincent Chan designed Обои (Oboi, Russian for "wallpaper") in one weight with support for both Latin and Cyrillic. Schwartz says, "It was difficult to come up with a typeface that looked distinctly Russian without falling into vario...
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PUBLICATIONS | 6 SEPTEMBER 2012

Portrait in debut issue of Document Journal

Commercial Type is proud to have been involved with the launch of Document Journal, a new fashion, art, and culture magazine with a New York-centric point of view from Editorial Director and Publisher Nick Vogelson and Creative and Fashion Director James Valeri. Christian Schwartz and Berton Hasebe consulted on the magazine's typography, with Berton's forthcoming release Portrait anchoring the ...
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PUBLICATIONS | 15 AUGUST 2012

Lettering for the Hot 10 in Bon Appétit

Bon Appétit magazine commissioned several pieces of lettering for the "Hot 10" list of America's best new restaurants in their September 2012 issue. This issue was a chance to combine two of our favorite design motifs: dots and dramatic swashes. Berton Hasebe worked with creative director Alex Grossman on the cover, and Christian Schwartz worked with art director Elizabeth Spiridakis on numbers...
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PUBLICATIONS | 14 AUGUST 2012

Glamour redesigns

The US edition of Glamour recently redesigned, using Brunel and Neue Haas Grotesk. Art director Sarah Viñas headed up the redesign, with creative director Geraldine Hessler, commissioning two very thin, especially high-contrast weights of Brunel.
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PUBLICATIONS | 5 MARCH 2012

Público refreshed

Mark Porter and Simon Esterson have refreshed their 2007 redesign of Público with some additions to the type palette.
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PUBLICATIONS | 19 FEBRUARY 2012

Platform in Glamcult independent style paper

Platform is the main typeface for both headlines and text in the recent redesign of Glamcult, a large-format independent style paper based in the Netherlands. The February 2012 issue, where the redesign debuted, featured a short interview with Berton Hasebe.
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PUBLICATIONS | 23 DECEMBER 2011

Druk XXXX Condensed and more for 2011 Bloomberg Businessweek Year in Review

2011 was a densely packed and chaotic year, so the type needed to help reflect this in Bloomberg Businessweek's Year in Review issue. Berton Hasebe added some very dramatically condensed versions to his already very condensed sans family Druk, while Christian Schwartz pulled some Neue Haas Grotesk numerals in the opposite direction. Berton also provided some impossibly condensed pieces of lette...
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PUBLICATIONS | 24 OCTOBER 2011

Neue Haas Grotesk Stencil for Bloomberg Businessweek Sports issue

Bloomberg Businessweek Creative Director Richard Turley wanted something a little bit more flexible than just a piece of lettering to tie a special section on sports together, so Christian Schwartz created a stencil version of the Regular weight of their Neue Haas Grotesk, loosely inspired by the work of Lawrence Weiner (who, ironically, despises Helvetica).
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PUBLICATIONS | 14 OCTOBER 2011

A new iPad app from The Guardian

The Guardian has launched a new iPad edition, using the typefaces we developed for their print edition. Mark Porter, former Guardian creative director, headed up the design of the app, adapting and reimagining the design principles from his 2005 redesign of the newspaper.
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PUBLICATIONS | 15 AUGUST 2011

Kaiser and Zizou for Fast Company

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.
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