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End User License Agreement

1.

This End User License Agreement (the “Agreement” “EULA,” “License,” “Agreement” or “License Agreement”) is a legal agreement between the Licensee (you) and Schwartzco, Inc., d/b/a Commercial Type (collectively, “Commercial Type”) and becomes a binding contract between you and Commercial Type when you access, install and/or use the Commercial Type Font Software (“Font Software” or “Fonts”). This Agreement governs the terms of use the Font Software and the design of the Fonts embodied therein (collectively, “Font Software”), for, among other uses, use in multi-use methods, large scale multi-user commercial uses, as well as simple uses such as individual desktop only uses. This License also controls the use and distribution of any media, electronic documentation, updates, add-ons, artwork, web services and/or the form of proprietary technology used to implement use of the Fonts as exists now or in the future. This Agreement becomes effective (a) when you “accept license agreement,” or when you open the electronic file in which the Font Software is contained. If you do not wish to enter into this Agreement, do not purchase, access, download and/or install or otherwise use the Font Software.

What this section means

Please read this document carefully, because you agree to its terms by installing the font software.

2.

(a) Upon payment in full, Commercial Type will grant you a non-exclusive, terminable License to the Font Software that accompanies this EULA. Use of the Font Software is limited to the specific uses permitted in your purchase receipt. All Commercial Type licenses are for use by the identified Licensee (You) only. Transfer or export or use of the Font Software by third parties is not permitted. For the purposes of this Agreement, “Font Software” shall be defined as the design of the Fonts together with the Font Software which, when used generates the typeface, typographic designs and, if included in the Font Software, ornaments or other designs. 

(b) The types of licenses offered by Commercial Type include, but are not limited to:

i. Use for Creation – Desktop. Under this license you are permitted to (1) Use fonts installed to a desktop computer for creating printed material or images; (2) embed the Fonts in non-editable documents. 
Such uses include internal documents, company letterhead, production of a newspaper, magazine, book or other paper publication, print advertising, broadcast advertising, film titles, social media posts, signage, packaging, and point of sale displays.

ii. Uses for Creation with Distribution Rights. Under this license, the Font Software is bundled with and distributed as part of the licensed uses and includes: (1) App License; (2) Web License; (3) ePub License; (4) Software Embedding License; (5) Device Embedding License; (6) Automated Document Production Server License; (7) Embedded Content License.

iii. Add-on or License Extensions. If the proper license extension is purchased, you are permitted to: (1) use the Font Software to produce merchandise for sale, including alphabet-themed products; (2) embed the Fonts in editable documents; (3) use the fonts in external third party platforms; (4) share the fonts with third parties doing work on behalf of Licensee.

iv. Use of the Font Software with Generative or other Artificial Intelligence (“AI”) services or in other AI programming is expressly prohibited.

PLEASE READ: To understand the terms and conditions associated with a particular type of license, review the Attachment to this agreement. The relevant terms and conditions in the attachment form a part of this agreement.

What this section means

This paragraph outlines what kind of usage is permitted with each kind of licensing that may be purchased. The receipt and license document delivered with the fonts will list what usage you are licensed for, and at what license levels (i.e. the number of users permitted by a desktop license, the number of domains and unique visitors per month permitted by a web license, etc.). Your user account on this website will also give a record of the licenses you have purchased and the usage permitted under each of them.

If you are uncertain whether a particular use is permitted under the license you have purchased, please contact us at info[at]commercialtype.com for assistance.

3.

FONT SOFTWARE DELIVERY. The Font Software will be transmitted, as necessary, to Licensee via Internet download for use on the computers and, if applicable, on the websites of Licensee in the (i) WOFF and WOFF2 Web Font formats; (ii) in the Open Type Format for Desktop use and; (iii) in TrueType Format for Application (“App”) uses as specified by the license purchased. Commercial hereby agrees to provide amended or updated Webfonts and/or Font Software, upon the request of Licensee, in the event generally accepted and commercially used software and/or Internet browser formats change in response to technology innovation.

What this section means

The fonts will be delivered in different formats depending on the license you have purchased.

4.

If you are a design consultancy, advertising agency or purchasing this license for use by or on behalf of such an entity, the ultimate end user should also purchase a license appropriate for their intended use of the Font Software. The license granted herein for personal use extends to temporary employees or independent contractors using the Font Software only so long as they are providing professional services expressly for the benefit of Licensee. 

What this section means

A license may not be shared by multiple companies (i.e. both a designer and his or her client). We make an exception for a freelancer working on behalf of a licensed client as an individual may use the fonts during the course of a project must purchase a separate license if they wish to use the fonts for other projects after the completion of the gig.

5.

Commercial Type, its successors, and assigns expressly retain all right and title in and to the Font Software together with the design of the Font embodied therein, together with any trademarks used in connection therewith. Except as may be otherwise expressly permitted herein, you agree not to copy the Font Software or create derivative works based upon the design of the Font or the Font Software. You hereby agree that the design of the Font and the Font Software are the exclusive property of Commercial Type and that the unauthorized use of the design of the Font or the Font Software is an infringement of Commercial Type’s exclusive rights and causing significant monetary harm. All rights not expressly granted herein are reserved to Commercial Type. Commercial Type’s rights and remedies in the event of an infringement shall be cumulative in nature.

What this section means

This license grants you the right to use our fonts and to make a copy of the files for backup purposes, but the fonts (both the software describing the design and the design itself) belong to us. You are not allowed to give copies to your friends, family or clients, and you may not modify the fonts without written permission from us.

6.

Except as may be otherwise expressly permitted herein, you may not alter or copy the Font Software, or the designs embodied therein in any manner whatsoever. Reformatting the Font Software into other formats for use in other operating systems is expressly prohibited. Upon payment of an additional fee and a separate written agreement Commercial Type may provide the Font Software in alternate and/or additional font formats, contact Commercial Type for a quotation. Altering or amending the embedding bits characteristics of the Font Software is expressly prohibited. The Font Software may not be used to create or distribute any electronic document in which the Font Software or any part thereof, is embedded in a manner or format that permits editing, alterations, enhancements, or modifications by the recipient of such document, unless a license that permits such use has been purchased. You may not knowingly transmit any electronic document or the Font Software to any party that intends or is likely to “hack,” edit, alter, enhance, or otherwise modify the Font Software or remove the Font Software from any document.

What this section means

You will need written permission from us before making any kind of modifications to a font which you have licensed from us, including renaming the font or converting it into a different format, in part because we aren’t able to support fonts we haven’t built and tested ourselves. Please contact us at info[at]commercialtype.com for more information.

7.

You may make one (1) back-up copy of Font Software for archival purposes only, and you agree to retain exclusive custody and control over any such copy. Upon termination of the Agreement, you must destroy the original and all copies of the Font Software. The unauthorized sharing, lending, renting, sale, or other unauthorized use or misuse of the back-up copy is a material breach of this Agreement and will result in the immediate termination of this License.

What this section means

You may make a copy of the font files for backup purposes, but you may not give, lend, or sell copies to your friends, family, clients or especially to strangers.

8.

If no other option exists, you may take a digitized copy of the Font Software used for a particular document, or Font Software embedded in an electronic document that is sent to a commercial printer or service bureau for use by the printer or service bureau for preparing the document, provided that the printer or service bureau represents that it shall destroy any and all copies of the Font Software upon completion of its work. Notwithstanding, you agree that the transmission of a “print/preview” pdf document is the first and preferred method of transmitting such documents to a service bureau or printer.

What this section means

If making a PDF is not an option, you may deliver a copy of the fonts to a service bureau or printer for final output. The service bureau must destroy the fonts when they are finished with the job.

9.

The designs embodied into the Font Software, the Font Software itself, and any trademarks associated therewith are the exclusive property of Commercial Type and their designers, where applicable, and are protected by the copyright and other intellectual property laws of the United States, by the copyright and design laws of other nations, and by other international treaties. Any copies that you are expressly permitted to make, pursuant to the Agreement, must contain the same copyright, trademark, and other proprietary notices that appear on or in the Font Software.

What this section means

This license grands you the right to use our fonts, but we retain ownership of both the font design and the font software.

10.

With the exception of subsetting webfonts, you agree not to create, assist in and/or cause the creation of modifications or additions to the Fonts or Font Software, including but not limited to: creating additional weights; creating additional or deleting existing characters; modifying existing characters; modifying font spacing and kerning; converting fonts to an alternate digital format, modify, adapt, translate, reverse engineer, decompile, disassemble, alter, or otherwise attempt to discover the source code of the Font Software without first obtaining written permission from Commercial Type. In the event that permission is given to you, the modifications must be used according to the terms and conditions of the License you purchased and all modifications and additions shall become and shall remain the sole and exclusive property of Commercial Type. You may not sell, lend, or otherwise transmit any modifications or additions to the Font Software to any third party. You agree that any webfonts not directly provided by Commercial Type, such as webfonts that have been subset by Licensee will be supported at Commercial Type’s sole discretion.

Other jurisdictions may provide for additional rights, and if applicable, you may reverse engineer or decompile the Font Software only to the extent that sufficient information is not available for the purpose of creating an interoperable software program (but only for such purpose and only to the extent that sufficient information is not provided by Commercial Type upon written request). All trademarks shall be used in accordance with accepted trademark practice, including identification of the trademark owner’s name. Use of the trademarks associated with the Font Software inures solely to the benefit of Commercial Type.

If you are unsure whether your use of the Font Software is specifically permitted under this Agreement, contact Commercial Type. All uses of Commercial Type Fonts require a license.

What this section means

You can subset webfonts licensed from us, but you will need written permission from us before making any other kind of modifications or additions to a font which you have licensed from us, or hiring anyone else to do so. We can only support the font files we provided, meaning that if you subset your own webfonts, we can’t support them. If you require modifications to a font, we can do the work for you quickly and at a reasonable cost. Please contact us at info[at]commercialtype.com for more information.

11.

Commercial Type Font Software is licensed for use by a specified number of users and for specified uses.

What this section means

This license is not limited to one geographical location; a company with multiple locations may share one font license for all employees so long as they are within the number of licensed users.

12.

Except as may be otherwise expressly provided for herein, you expressly agree not to rent, lease, sublicense, give, lend, or further distribute the Font Software. 

What this section means

You may not give or lend copies of the font files to anyone else, unless you transfer the license to the third party (along with a copy of this EULA and all other documentation that may have been included with the fonts) and destroy all copies of the font files in your possession, including backups.

13.

Commercial Type warrants that the Font Software will perform substantially in accordance with its documentation for ninety (90) days following delivery of the Font Software. To make a warranty claim, you must either return the Font Software to the location from which you obtained it together with a copy of your sales receipt or, if acquired on-line, contact the on-line provider with sufficient information regarding your acquisition of the Font Software to permit the confirmation of the effective date of this License. Schwartzco, Inc. and Commercial Type hereby EXPRESSLY DISCLAIMS ALL WARRANTIES, EXPRESS AND IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. COMMERCIAL TYPE DOES NOT WARRANT THAT THE OPERATION OF THE FONT SOFTWARE WILL BE UNINTERRUPTED OR ERROR-FREE, OR THAT THE FONT SOFTWARE IS WITHOUT DEFECTS. UNDER NO CIRCUMSTANCES SHALL COMMERCIAL TYPE BE LIABLE TO YOU OR ANY OTHER PARTY, WHETHER IN CONTRACT OR TORT (INCLUDING NEGLIGENCE) OR OTHERWISE, FOR ANY SPECIAL, CONSEQUENTIAL, OR INCIDENTAL DAMAGES, INCLUDING LOST PROFITS, SAVINGS OR BUSINESS INTERRUPTION AS A RESULT OF THE USE OF THE FONT SOFTWARE EVEN IF NOTIFIED IN ADVANCE OF SUCH POSSIBILITY. You hereby agree that your entire, exclusive, and cumulative liability and remedy shall be limited to the purchase price of this Font Software License. Under no circumstances shall Schwartzco, Inc.’s or Commercial Type’s liability to you exceed either the refunding of the cost of the Font Software License or replacement of the Font Software either of which shall be at Commercial Type’s sole discretion.

What this section means

The fonts will perform as promised in the documentation, and we will provide technical support within a reasonable timeframe, to the best of our ability. In the event of a refund, we cannot refund more than the purchase price for the license, and all copies of the fonts in your possession must be destroyed.

14.

OTHER LAW – CONSUMERS ONLY. Some jurisdictions do not allow the exclusion or limitation of incidental, consequential or special damages, implied warranties, or implied warranties as they relate to sales to consumers. ANY IMPLIED WARRANTY OR OTHER RIGHT CREATED BY LAW IS ONLY EFFECTIVE FOR THE NINETY (90) DAY WARRANTY PERIOD. THERE ARE NO WARRANTIES OR CONDITIONS OF ANY KIND AFTER THE NINETY (90) DAY WARRANTY PERIOD. To the extent permissible by law, you agree that all implied warranties are not to be effective for more than thirty (30) days.

What this section means

This paragraph is required by law and simply means that any warranty (explicit or implied) is limited.

15.

You expressly agree that this Agreement shall be governed by the laws of the State of New York, USA, as they apply to contracts entered into and wholly performed therein and without respect to its conflict of laws provisions or the conflict of laws provisions of any other jurisdiction. You expressly submit to the personal jurisdiction of the state and federal courts in the State of New York, USA, agree to waive any defenses arising out of the selection of jurisdiction or venue and further agree to service of process by mail. You hereby expressly agree that the application of the United Nations Convention of Contracts for the International Sale of Goods is expressly excluded.

What this section means

Our main office is in New York City, so this agreement is governed by the laws of New York State.

16.

You acknowledge that you have read and understand this Agreement and that by using the software you agree to be bound by its terms and conditions. You further agree that it is the complete and exclusive statement of the agreement between Commercial Type and Licensee which supersedes any proposal or prior agreement, oral or written, and any other communications relating to the subject matter of this Agreement. No variation of the terms of this Agreement or any different terms will be enforceable in the absence of an express written amendment, or consent, including a written express waiver of the affected terms of this Agreement. If any provision of this Agreement is declared by a court of competent jurisdiction to be invalid, void, or unenforceable, the remaining provisions of this Agreement shall continue in full force and effect, and the invalid provision shall be replaced by Commercial Type with a provision that effects the intent of the invalid provision. Commercial Type expressly reserves the right to amend or modify its License Agreements at any time and without prior notification.

What this section means

Again, please read this document carefully, because you agree to its terms by installing the font software.

17.

The Agreement shall automatically terminate in the event You or any authorized user breaches any term or condition set forth herein. Notwithstanding any termination of this License, Commercial Type expressly reserves all other rights and remedies under equity or law. The Agreement may only be modified in a writing signed by an authorized officer of Commercial Type.

What this section means

If any of the terms in this agreement are broken, the license is no longer valid. We will notify you in writing if the EULA changes.

18.

You agree to be responsible for compliance with all laws, foreign and domestic relating to the control of exports or the transfer of technology. If you are purchasing this License for government use, or under a government contract, you agree to familiarize yourself with and follow any applicable rules and regulations relating to the purchase of a license to use software and the actual use thereof.

All inquiries and arrangements for returns, if any, may be sent via e-mail to info[at]commercialtype.com. The Commercial Type website is located at commercialtype.com.

©2023 Schwartzco, Inc. d/b/a Commercial Type. All Rights Reserved.

What this section means

You agree to follow the law and other applicable rules in your use of this font license.

19.

ATTACHMENT TO END USER LICENSE AGREEMENT

Your license may include these Types of Uses, if purchased. See the receipt and license document delivered with the font files for details. Some of these license types may not be purchased via this website.

Please contact info[at]commercialtype.com for details and pricing.

Creation with Distribution Licenses

  1. App License

    1. Allows for embedding in Applications or Apps using the iOS, Windows Mobile, and Android mobile operating system formats.

    2. License is per individual title, without restriction as to the type of OS.

  2. Web License

    1. Use the Font Software to style HTML and SVG documents using the CSS @font-face mechanism.

    2. Use in email permitted, with fonts served from licensee’s server.

    3. License covers a discrete number of domains, with unlimited subdomains permitted for each.

    4. License covers an aggregated total number of unique monthly visitors across all licensed domains.

    5. If the maximum number of allowed unique visitors is exceeded for three (3) consecutive months, the purchase of an additional license is required. Commercial reserves the right to inspect or monitor your usage.

    6. You shall make a reasonable attempt to prevent the use of any process that allows hot-linking, re-serving or re-directing access to and/or use of the Font Software by unlicensed parties. You agree to exercise commercially reasonable efforts to ensure that the Font Software is retained with the other assets associated with the licensed domains.

    7. For the purposes of clarity, the use of third party font hosting services is strictly prohibited and the Font Software should be stored and served from the same devices and location as the other software and assets associated with the licensed domains.

  3. ePub License

    1. For use of the font software to style text in ePubs, for use in any operating system or device in which embedded fonts are supported.

  4. Software/Video Game Embedding License

    1. For embedding the fonts in non-mobile desktop software for use in MacOS, Windows, Linux, etc.

    2. License is per individual title, without restriction as to the type of OS or Platform.

  5. Device Embedding License

    1. For embedding fonts in any type of electronic device.

    2. This License is granted only on a per device basis.

  6. Automated Document Production Server License

    1. This License permits installing the Fonts Software on a server that generates documents automatically, such as bank statements, credit card bills, investment fund prospectuses, among others. 

    2. For creating user-generated content using the fonts, such as logos or templated documents.

  7. Embedded Content License

    1. For content using the font, distributed through content aggregators or ad networks:

      1. HTML5-based advertising.

      2. Embedded content in services such as Facebook Instant, Google AMP, Apple News, etc.

    2. License is for a discrete number of impressions.

    3. For use where the Fonts are hosted on the creator’s server, or CDN.

  8.  Merchandise License

    1. For use in creating merchandise for sale, among others, on goods such as apparel, mugs, housewares in which a logotype or other text set in the typeface is the primary design element;

    2. Promotional items given away for free are covered by the standard desktop license and do not require a merchandise license;

    3. Packaging and point of purchase promotion is covered by desktop license;

    4. Electronic devices, third party software, etc. would require an Embedding license, not a merchandise license

  9. Document-Based Editable Embedding License

    1. PDF embedding is permitted in the standard Desktop License.

    2. This License permits changing the embedding setting from Print & Preview (default) to Editable Embedding, which allows a Font to be embedded in a document which can then be viewed, printed, and edited.

  10. External Platform License (for platform user)

    1. For use of the font on third party platforms and services.

    2. Examples:

      1. Font is loaded onto slides.com for licensee to make templated presentations.

      2. Font is used on website that automates production of business cards for licensee.

    3. Fonts are hosted on the third party server, or shared CDN. No further distribution is allowed.

    4. Content may only be produced/edited by the license holder (fonts cannot be used by the third-party platform or other users of the third-party-platform not authorized by licensee).

    5. Font must be removed from third-party platform upon discontinuation of the third-party services.

  11. Distribution License

    1. Allows for distribution of desktop fonts to a third party who needs to work with the fonts on licensee’s behalf. Subcontractor will receive a desktop license that limits usage to working with the licensing client, along with the standard EULA.

    2. License covers a discrete number of third parties doing work on behalf of licensee simultaneously.

What this section means

This attachment to the EULA details the usage permitted under each license type, some of which can be purchased on this website, and some of which can only be obtained by contacting us and working with our licensing department. Please contact info[at]commercialtype.com for assistance.

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Chiswick by Paul Barnes

Chiswick Sans
Chiswick Grotesque
Chiswick
Chiswick Sans
Chiswick Grotesque
Chiswick
Chiswick Sans

Chiswick is a collection of eight interrelated families in three sets – serif, sans, and grotesque – inspired by the vernacular style of lettering found in the British Isles from the 18th century onward. With a common skeletal structure, they range from the warm beauty of Chiswick to the industrial Chiswick Grotesque.

Detail of sans serif lettering on gravestone at St Wendrona, Wendron, Cornwall, 1834. Photograph by Paul Barnes.
Gravestone at St Wendrona, Wendron, Cornwall, 1834. Photograph by Paul Barnes.
Gravestones, St Mary’s Callington, Cornwall. Photograph by Paul Barnes.
Photograph by Alan Bartram. Used by permission of Central Lettering Archive, Central Saint Martins College of Art and Design, London
Gravestone, St John the Baptist’s Church, Ault Hucknall, Derbyshire. Photograph by Paul Barnes.
Detail of gravestone, Tavistock Parish Church, Cornwall. Photograph by Paul Barnes.
Gravestone, St Giles Church, Calke Abbey, Derbyshire. Photograph by Paul Barnes. Note the interesting form of g.
Gravestone, St Giles Church, Calke Abbey, Derbyshire. Photograph by Paul Barnes.
St Mawgan-in-Meneage, Mawgan, Cornwall. Photograph by Paul Barnes.
Hereford Cathedral. Photograph by James Mosley, used by permission.
St Mary’s Penzance, Cornwall. Photograph by Paul Barnes.
Detail of sans serif lettering on gravestone at St Wendrona, Wendron, Cornwall. Photograph by Paul Barnes.
Detail of sans serif lettering on gravestone at St Wendrona, Wendron, Cornwall, 1834. Photograph by Paul Barnes.
Gravestone at St Wendrona, Wendron, Cornwall, 1834. Photograph by Paul Barnes.
Gravestones, St Mary’s Callington, Cornwall. Photograph by Paul Barnes.
Photograph by Alan Bartram. Used by permission of Central Lettering Archive, Central Saint Martins College of Art and Design, London

During the 18th century, a new idea of how letters should be began to crystallise in Britain, a style that would inform how they would look into the next century and beyond. It has been called the English Vernacular or English Lettering Tradition, though it could be found all over the British Isles, and could be seen anywhere letters existed, and at any scale: on buildings, on signs, on medals, on coins, on pottery, on transport, and on gravestones. With and without serifs, letterforms shared a basic structure. Some of the best surviving examples are on gravestones, particularly in the southwest of England.

Lettering manual by Carington Bowles, 1775. Reproduced in Motif 6 by James Mosley. Used by permission
Lettering manual by Carington Bowles, 1775. Reproduced in Motif 6 by James Mosley. Used by permission
Signpainter L. Monk of the firm George Brown, lettering in the 1960s. Photograph by James Mosley, used by permission.
Vernacular lettering in Clerkenwell, London. Photograph by Paul Barnes
Vernacular lettering in London, c. 1841
19th Century London, Photograph by Henry Dixon, for the Society for Photographing Relics of Old London. Used by permission of the Bishopsgate Institute.
19th Century London, Photograph by Henry Dixon, for the Society for Photographing Relics of Old London. Used by permission of the Bishopsgate Institute.
19th Century London, Photograph by Henry Dixon, for the Society for Photographing Relics of Old London. Used by permission of the Bishopsgate Institute.
19th Century London, Photograph by Henry Dixon, for the Society for Photographing Relics of Old London. Used by permission of the Bishopsgate Institute.
Some of this 19th c. vernacular lettering exists today, like this example in Edinburgh. Photograph Paul Barnes.
National Railway Museum, York.
Lettering manual by Carington Bowles, 1775. Reproduced in Motif 6 by James Mosley. Used by permission
Lettering manual by Carington Bowles, 1775. Reproduced in Motif 6 by James Mosley. Used by permission
Lettering manual by Carington Bowles, 1775. Reproduced in Motif 6 by James Mosley. Used by permission
Signpainter L. Monk of the firm George Brown, lettering in the 1960s. Photograph by James Mosley, used by permission.
Vernacular lettering in Clerkenwell, London. Photograph by Paul Barnes

The style was also ubiquitous in painted letters, which adorned shopfronts in both urban and rural areas. The development of the rainroad network helped to facilitate lettering styles spreading throughout the British isles. Additionally, lettering manuals such as Carington Bowles’s Roman and Italic Print Alphabets on a large size complete; with figures, double letters, and the most useful diphthongs in the modern taste; designed chiefly for the use of painters, engravers, carvers, grave-stone cutters, masons, plumbers, and other artificers; likewise very useful for merchants and tradesmens clerks (its complete title) were copied by tradesmen, helping to spread a consistent style.

Roman alphabet by George Bickham in the Universal Penman, 1741
Title page of Bible printed by Baskerville in his types, 1763
Slate cut by John Baskerville, c. 1730
Roman alphabet by George Bickham in the Universal Penman, 1741
Title page of Bible printed by Baskerville in his types, 1763
Slate cut by John Baskerville, c. 1730
Roman alphabet by George Bickham in the Universal Penman, 1741

The style would go on to influence how printing types looked, the most famous example being those of John Baskerville, a former writing master. Though the styles were varied; script (informing the famous roundhand of Bickham, Snell and Champion), seriffed letters, slab serifs, sans serifs, and even ornamental letters, they all shared a common skeletal form. The Chiswick collection captures the spirit of the vernacular in three main styles: an elegant serif, a high-contrast sans, and a workmanlike grotesque.

Chiswick Deck Bold
Chiswick Deck Bold Italic
Chiswick Deck Extralight
Chiswick Deck Extralight Italic
Chiswick Deck Light
Chiswick Deck Light Italic
Chiswick Deck Regular
Chiswick Deck Regular Italic
Chiswick Deck Semibold
Chiswick Deck Semibold Italic
Chiswick Deck Bold
Chiswick Deck Bold Italic
Chiswick Deck Extralight
Chiswick Deck Extralight Italic

Chiswick

With a warm elegance, Chiswick is a seriffed typeface influenced by the British lettering tradition that began in the 18th century. High in contrast and with a beautiful, dramatically angled italic, Chiswick follows the lettering tradition rather than typographic sources. From the pen of the writing master to the chisel of the letter cutter, Chiswick takes inspiration from many sources, in doing so capturing the joyful spirit of the vernacular seriffed letters of the 18th and 19th century. Unlike the Modern typefaces of the era, which were forced to stay within the physical bounds of metal letters, Chiswick is freed from these constraints, allowing characters like y to have a more playful and expressive approach. The italic has a steep angle, akin to the roundhand copperplate script. As an anthology of seriffed forms created over the eighteenth and nineteenth century, Chiswick’s letterforms show subtle variation rather than precise repetition of details, giving an impression of handmade beauty rather than measured perfection.

In five weights, with roman and italic from Extralight through to Bold, Chiswick’s distinctive design offers designers a typeface that fills a unique space in the typographic world. Its forms are assured but unusual, and beautifully crafted. Though formal in its contrast and overall appearance, it has an energetic and playful character, particularly in the wonderfully varied and rich italic.

Lowercase ascender and head serif options
Various swash forms and alternates
Alternate forms for g and y
Alternates
Lining figures
Oldstyle figures
Lowercase ascender and head serif options
Various swash forms and alternates
Alternate forms for g and y
Alternates

Providing stylistic options similar to what a letterer might have had in his arsenal, Chiswick has an impressive number of alternate forms and swashes, multiple figure styles and small capitals (in both roman & italic). The atypical hooks on the ascenders can also be replaced by more traditional serifs, or serifless terminals.

Chiswick Text
Chiswick Text
Chiswick Poster
Chiswick Poster
Chiswick Headline
Chiswick Headline
Chiswick Deck
Chiswick Deck
Chiswick Text
Chiswick Text
Chiswick Poster

Chiswick is comprised of four families designed for different sizes, so it can have the appropriate stroke contrast from text up to giant headlines. It is well suited to a large range of uses in graphic design, social stationery and editorial design where a timeless elegance is required. Chiswick Poster is designed for the largest sizes, of 80 point and above, for headlines in magazines, for posters, for shop signs, in fact anywhere a seriffed letter with distinction and refinement is needed. Chiswick Headline is designed for situations where Chiswick Poster is too delicate; it is perfect for sizes from 30 point to 60 point. Useful for smaller headlines, as well as subheads, pull quotes, and introductory paragraphs, Chiswick Deck is intended for use from 14 to 30 point.

Chiswick Text: Titling alternates
Chiswick Text: Additional swashes and alternates
Chiswick Text Regular
Chiswick Text Regular Italic
Chiswick Text
Chiswick Text: Swashes
Chiswick Text: Titling alternates
Chiswick Text: Additional swashes and alternates
Chiswick Text Regular
Chiswick Text Regular Italic

Even at small sizes, such as on a watch face or the caption of an engraving, vernacular style letterforms bear a remarkable similarity to the letters applied at the largest sizes, such as on a shopfront. Chiswick Text is intended for use up to 14 point, and brings a remarkably warm character to text. Comfortable for long-form reading, its personality is equally well-suited to short bursts of text on menus and invitations. Chiswick Text has been adapted from the display versions, toning down the style without becoming characterless. With multiple figure styles and small capitals – not to mention the full range of alternates and swashes found in the display sizes – it will satisfy the needs of even the most rigorous microtypography.

O, the Oprah Magazine; creative directors Priest + Grace
O, the Oprah Magazine; creative directors Priest + Grace
2010 and 2011 covers from O, the Oprah Magazine; creative directors Priest + Grace
O, the Oprah Magazine; creative directors Priest + Grace
O, the Oprah Magazine; creative directors Priest + Grace
O, the Oprah Magazine; creative directors Priest + Grace
O, the Oprah Magazine; creative directors Priest + Grace
O, the Oprah Magazine; creative directors Priest + Grace
O, the Oprah Magazine; creative directors Priest + Grace
2010 and 2011 covers from O, the Oprah Magazine; creative directors Priest + Grace
O, the Oprah Magazine; creative directors Priest + Grace

An early version of Chiswick served as the primary display typeface in the 2010 redesign of O, The Oprah Magazine by Robert Priest and Grace Lee, where its beautiful forms gave a breezy opulence to feature openers and section heads. 

Chiswick Sans Fat
Chiswick Sans Fat Italic
Chiswick Sans Thin
Chiswick Sans Thin Italic
Chiswick Sans Extralight
Chiswick Sans Extralight Italic
Chiswick Sans Light
Chiswick Sans Light Italic
Chiswick Sans Regular
Chiswick Sans Regular Italic
Chiswick Sans Semibold
Chiswick Sans Semibold Italic
Chiswick Sans Bold
Chiswick Sans Bold Italic
Chiswick Sans Fat
Chiswick Sans Fat Italic
Chiswick Sans Thin
Chiswick Sans Thin Italic

Chiswick Sans

Simply removing serifs from letters is an obvious idea, particularly in the case of a slab form. It is less obvious when the original is a high contrast serif letter. During the long process of designing Chiswick, an unusual example of a highly contrasted sans was discovered in the far west of England. These letterforms had the contrast of a modern style serif, but without any serifs. Had the lettercutter forgotten to add them, or was he creating a new style? We will never know, but before sans became codified as a genre of typeface, high contrast sans letters were surprisingly typical. 

Chiswick Sans Text Regular
Chiswick Sans Text Regular Italic
Chiswick Sans Poster Bold
Chiswick Sans Poster Bold Italic
Chiswick Sans Bold
Chiswick Sans Bold Italic
Chiswick Sans Text Regular
Chiswick Sans Text Regular Italic
Chiswick Sans Poster Bold

Chiswick Sans manages to retain the beauty of its serif forebearer, but in the form of a serifless letter. Its two display sizes each range across seven weights, from a dazzling thin through to a heavy fat weight, all with beautifully expressive italics. Additionally, five weights of a text size have been drawn. Despite the lack of terminals, Chiswick Sans remains an unusual but convincing proposition, useful when a sans with distinction and character is needed.

Chiswick Sans Poster Fat with alternate Q R and g
Chiswick Sans Poster Fat Italic with less cursive variants

Chiswick Sans Poster has extreme contrast between thick and thin strokes, making it a clever alternative to the high contrast modern serif where an elegant and refined letterform is required. With a gloriously expressive and striking italic, it shows how a letterform from the past can resonate in the contemporary world. It is suitable for the largest display sizes in graphic design and editorial design. Chiswick Sans stands between the extremes of Poster and the utilitarian Text versions. More robust than the Poster and usable at a wider range of sizes, it is still clearly intended for headlines.

Chiswick Sans Text Regular
Chiswick Sans Text Regular Italic

Between the elegance of Chiswick Sans and Sans Poster and the industrial Chiswick Grotesque lies Chiswick Sans Text. Its contrast is low enough to work at all sizes, but high enough to give texture, character, and personality to a block of text. Distinctly different from the typographic sans serifs of the 19th century, Chiswick Sans Text captures the expressive spirit of the era’s lettering. Its gentle contrast between strokes makes an excellent contrast to the more monolinear sans forms of Graphik or Marr Sans. Many of the characters such as the K, k and the long tailed y add a unique flavour to the utilitarian sans form, though the fussier details have been calmed down to remove distractions, particularly in the italics. Chiswick Sans Text is a simple, unusual sans that can be used in many situations where the plainness of a sans is required, but a subtle character and distinct texture are suitable.

Document Journal #5, creative director Nick Vogelson
Document Journal #5, creative director Nick Vogelson
Document Journal #4, creative director Nick Vogelson
Document Journal #4, creative director Nick Vogelson
Document Journal #5, creative director Nick Vogelson
Document Journal #5, creative director Nick Vogelson
Document Journal #4, creative director Nick Vogelson
Document Journal #4, creative director Nick Vogelson

Chiswick Sans was first used in Document Journal, a fashion, arts and culture publication centered in downtown New York (and previously our studiomates), where its quiet elegance and unusual shapes paired well with avant garde fashion, art, and photography.

Chiswick Grotesque Fat
Chiswick Grotesque Fat Italic
Chiswick Grotesque Thin
Chiswick Grotesque Thin Italic
Chiswick Grotesque Extralight
Chiswick Grotesque Extralight Italic
Chiswick Grotesque Light
Chiswick Grotesque Light Italic
Chiswick Grotesque Regular
Chiswick Grotesque Regular Italic
Chiswick Grotesque Semibold
Chiswick Grotesque Semibold Italic
Chiswick Grotesque Bold
Chiswick Grotesque Bold Italic
Chiswick Grotesque Black
Chiswick Grotesque Black Italic
Chiswick Grotesque Fat
Chiswick Grotesque Fat Italic
Chiswick Grotesque Thin
Chiswick Grotesque Thin Italic

Chiswick Grotesque

Industrial in style, while retaining the essential character of the other families in the Chiswick collection, Chiswick Grotesque is a letterform from the nineteenth century’s bustling metropolises. Its boldness and crude, no-nonsense style suggest a form as suited to architecture as to print. The use of sans serif letterforms exploded in the late 1820s & 30s. By this time, sans had gone from being a rarified choice evocative of classicism to being one of the key styles of letters, as bold as the popular slab, but with a stripped down simplicity for eye catching headlines in print and around town. Chiswick Grotesque is the letter we see in street scenes of the nineteenth century: powerful and often cruder in style than printing types, with its round, geometric bowls exhibiting an industrial aesthethic. This is the letter an engineer would use on a machine, or with which a signpainter would adorn a factory. It is a letter for casting in a metal foundry rather than a typefoundry.

Chiswick Grotesque Regular
Chiswick Grotesque Regular Italic

Chiswick Grotesque has eight weights, the largest range in the Chiswick collection. Its novel apperance makes it well suited to a variety of graphic design and editorial design applications, and its unusual approach to contrast and geometry can help breathe life into online interfaces and other screen-based uses. In text it is unusual but appealing, crude but organic. When seen as a mass, the eccentricities of individual letterforms recede, leaving a pleasant and lively texture.

’SUP, designed by Richard Turley and Tracy Ma
’SUP, designed by Richard Turley and Tracy Ma
’SUP, designed by Richard Turley and Tracy Ma
’SUP, designed by Richard Turley and Tracy Ma
’SUP, designed by Richard Turley and Tracy Ma
’SUP, designed by Richard Turley and Tracy Ma
’SUP, designed by Richard Turley and Tracy Ma
’SUP, designed by Richard Turley and Tracy Ma
’SUP, designed by Richard Turley and Tracy Ma

The tension between elegance and crudeness in Chiswick Grotesque made it a good fit for a special desert mini-edition of ’SUP in 2014, centered around a small music festival the team had put on in Topanga Canyon the previous winter. The issue was designed by Richard Turley and Tracy Ma, with photo editor Emily Keegin. All type in the issue was in three weights of Chiswick Grotesque, sometimes with psychedelic modifications by the designers.

Note: Photographs of historical sources in this article have been used by permission and may not be reproduced elsewhere.