Commercial Type News http://commercialtype.com/news The latest news from Commercial Type, including new releases, custom type projects, press coverage, and appearances. &copy; 2015 CommercialType en-us Rails Appearances: <h2>12 JUNE 2015 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/typographics_conference">Typographics Conference</a></h3> <p>Typographics is a 10-day design festival devoted to contemporary typography, with talks, workshops, and tours focusing on where typography is today and where its future may lie. It will be held at Cooper Union in New York City as a combined effort of Type@Cooper and the Herb Lubalin Study Center, with a big helping hand from Roger Black. Christian Schwartz will be speaking on newspaper type on Saturday morning, alongside such luminaries as Alex Trochut, Barbara Glauber, Juan Carlos Pagan, and Erik van Blokland. Commercial Type is proud to be a sponsor of what is sure to be a great event. See <a href="http://typographics.com">the conference site</a> for more information and to register.</p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/172 Fri, 12 Jun 2015 00:00:00 +0000 172 Releases: <h2>22 MAY 2015 | <a href="/news/categories/releases">RELEASES</a></h2> <h3><a href="/news/updates/fontstand_has_launched">Fontstand has launched</a></h3> <p>Fontstand, a new Mac OS app that facilitates testing fonts and renting font licenses, has launched today with over 20 independent type foundries participating, including Commercial Type. Conceived by type designers Andrej Krátky, Peter Biľak, and Ondrej Jób, this service gives new flexibility to desktop font licensing and makes it very easy to test typefaces in your layouts before committing to a license. We've joined Fonstand because we want to learn who the traditional font licensing model has been leaving out. We feel that the type market is ripe for innovation as far as platforms and ways of selling font licences are concerned, and it's not in the best interest of type designers or users to cede all of the innovation to corporate bean-counters who see type as a commodity and users as nothing more than a revenue stream. Some of our most popular families, like Stag, and our least popular families, like Gabriello, can be accessed through the service. Find out more at <a href="https://fontstand.com">fontstand.com</a>, or find our fonts directly on <a href="https://fontstand.com/foundries/commercial-type">our foundry page there.</a></p> <div id="news_thumbs"> <a href="/news/updates/fontstand_has_launched?image=0"><img alt="01-fontstand_storefront-176-xxx" src="/uploads/900009/1432304929458/01-Fontstand_storefront-176-xxx.png" style="left:0px;" width="176" /></a> <a href="/news/updates/fontstand_has_launched?image=1"><img alt="02_fontstand_foundry-176-xxx" src="/uploads/900009/1432304929620/02_Fontstand_foundry-176-xxx.png" style="left:196px;" width="176" /></a> <a href="/news/updates/fontstand_has_launched?image=2"><img alt="03-fontstand_stag-176-xxx" src="/uploads/900009/1432304930966/03-Fontstand_Stag-176-xxx.png" style="left:392px;" width="176" /></a> </div> CommercialType http://commercialtype.com/news/171 Fri, 22 May 2015 00:00:00 +0000 171 Custom typefaces, publications, newspapers: <h2>12 MAY 2015 | <a href="/news/categories/custom typefaces">CUSTOM TYPEFACES</a> | <a href="/news/categories/publications">PUBLICATIONS</a> | <a href="/news/categories/newspapers">NEWSPAPERS</a></h2> <h3><a href="/news/updates/mcclatchy">New typefaces for the daily newspapers published by The McClatchy Company</a></h3> <p>The McClatchy Company publishes 29 daily newspapers across the US, from Washington, to California, to Kansas, Florida, and the Carolinas, in both large and small markets. 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. However, it was important that the newspapers retain a measure of individuality, rather than all looking exactly the same. Directed by Garcia Media's Reed Reibstein and Mario García, we designed a set of typefaces that will help to bridge the gap between design consistency and individual character. <b><a href="http://garciamedia.com/blog/mcclatchy_multi_platform">For more information on the redesigns and the underlying strategy and philosophy, please see this excellent post on the Garcia Media blog.</b></a> <br><br> The first set of newspapers to follow this new design paradigm are <i>The Sacramento Bee</i>, <i>The Modesto Bee</i>, and <i>The Merced Sun-Star</i>, with <i>The Fresno Bee</i> to follow in the next week. The remaining 25 dailies will roll out their redesigns in the coming year or so. <br><br> The quiet, hardworking core of this new set of typefaces is the text face, which will be common to all 29 dailies: a modified version of Kai Bernau's Lyon Text, with shortened ascenders and descenders to fit better with the tight leading of newspaper text typography. The italics are slightly less angled and a bit wider, keeping the counterforms and arches from clogging up on newsprint. Three grades have been produced for this family, slightly different weights to compensate for different inking on different presses across the country. Though the schedule was highly accelerated, we were able to receive press tests from all 29 newspapers, which helped to determine how heavy the different grades should be, as well as the right range of weights for the headline faces. <br><br> The more visible part of this project is a set of three headline families, all drawn on the same character widths and sharing kerning so that they can be subsitituted seamlessly for one another without changing copyfit. We have aimed for a friendly, sophisticated, and distinctly American look for the three families. McClatchy Sans was drawn by Christian Schwartz, McClatchy Serif was drawn by Miguel Reyes, and McClatchy Slab was drawn by Greg Gazdowicz. These headline families build on the ideas explored in Berton Hasebe's Duplex family, which matched a serif and a sans on the same widths, but the addition of a third family added exponentially to the complexity. The designers at Garcia Media and a handful of the McClatchy papers tested Duplex but felt it looked too European. With this in mind, we looked for sources that would feel unambiguously American, landing on a set of typefaces from the Ludlow Typefoundry. Ludlow's typesetting machines were very popular for setting headline type at newspapers throughout the US in the first half of the 20th century, before the rise of phototype. <br><br> Because these families are designed for differentiation, they needed to look <i>different</i>, while complementing one another when they are used together. McClatchy Sans takes a number of design cues from Tempo, R. Hunter Middleton's Americanized take on the geometric sans, which seems to borrow as much from sign painter's Gothics as it does from Futura. Since many of the papers had been using Font Bureau's Benton Sans, derived from Franklin Gothic and News Gothic, we felt we had to rule out the American Gothic genre. Angled terminals make the face look warm and approachable, while also adding flexibility in tweaking the character widths to match the other families. McClatchy Sans is the largest of the headline families, with 7 weights, duplexed italics (drawn by Greg Gazdowicz), and a full range of Condensed styles that are used for labels and larger headlines. McClatchy Sans also serves as a workhorse beyond headlines, with a looser Text version in use for captions, weather maps, and other secondary applications. <br><br> McClatchy Serif is based on Ludlow Garamond, Middleton's quirky take on French Renaissance types. We felt that an oldstyle would be a more distinctive and interesting choice than a Modern, which seemed like a more overtly historical choice. Miguel Reyes also looked at Sabon, which has more contemporary proportions and a crisper italic. McClatchy Serif has 4 weights, with true cursive italics for all. It is the most visually sophisticated of the three families, with higher contrast and a smaller x-height than the other two, making it feel less compact. <br><br> McClatchy Slab started out as a loose interpretation of Ludlow Bookman, the primary headline face in <i>The New York Times</i> throughout most of the 20th century, until the 2005 refresh that replaced it with Matthew Carter's extensive Cheltenham family. However, the character widths of the other two families forced the serifs to become shorter and shorter until McClatchy Slab ended up looking more like a slab serif interpretation of Cheltenham. This family is a bit friendlier than the other two, but the crisp detailing on the serifs keep it newsy and energetic. <br><br> A small number of alternates, such as a single-story <i>g</i> (which looked far too silly to include in the Serif), allow for further flexibility and differentiation. <br><br> The design process for these three families was far from straightforward. Schwartz drafted the Sans first, so Reyes and Gazdowicz would have widths to work with, but it was important not to think of any one of the three families as the "primary" typeface. As work on the three families progressed, the designers would periodically sit down together to discuss which characters they were having the hardest time fitting onto the widths and where the compromises were most visible, then negotiate changes. <br><br> Reibstein and Garcia describe their approach to using these three families as follows:<br> <i>In practice, each newspaper will select a type palette emphasizing certain of the headline faces across platforms. In print, there are four options for the primary and secondary headlines: #1, Serif and Sans; #2, Slab and Sans; #3, Sans and Serif; and #4, Sans and Slab. At launch on the web, papers using the Serif will have the Serif as their primary headline face, while those using the Slab will have that as their primary face... Palette #1, emphasizing the Serif, is be the most elegant and conservative. #2 is more approachable but still serious. #3 and #4 are the boldest and most newsy.</i> </p> <div id="news_thumbs"> <a href="/news/updates/mcclatchy?image=0"><img alt="00a-sacbee-before after-124-xxx" src="/uploads/900009/1431438399562/00A-SacBee-Before After-124-xxx.png" style="left:0px;" width="124" /></a> <a href="/news/updates/mcclatchy?image=1"><img alt="00b-mcc-iphones-border-197-xxx" src="/uploads/900009/1431438399633/00B-McC-iPhones-border-197-xxx.png" style="left:144px;" width="197" /></a> <a href="/news/updates/mcclatchy?image=2"><img alt="00c-sacbeehome-responsivewide-138-xxx" src="/uploads/900009/1431439538122/00C-SacBeeHome-responsiveWIDE-138-xxx.png" style="left:361px;" width="138" /></a> <a href="/news/updates/mcclatchy?image=3"><img alt="00d-sacbeehome-responsivemed-111-xxx" src="/uploads/900009/1431439538271/00D-SacBeeHome-responsiveMED-111-xxx.png" style="left:519px;" width="111" /></a> <a href="/news/updates/mcclatchy?image=4"><img alt="00e-sacbeehome-responsivenarrow-72-xxx" src="/uploads/900009/1431439538764/00E-SacBeeHome-responsiveNARROW-72-xxx.png" style="left:650px;" width="72" /></a> <a href="/news/updates/mcclatchy?image=5"><img alt="00f-sacbeehome-responsivearticle-158-xxx" src="/uploads/900009/1431439539380/00F-SacBeeHome-responsiveArticle-158-xxx.png" style="left:742px;" width="158" /></a> <a href="/news/updates/mcclatchy?image=6"><img alt="00g-sac1a-closeup-141-xxx" src="/uploads/900009/1431439539894/00G-sac1a-closeup-141-xxx.png" style="left:920px;" width="141" /></a> <a href="/news/updates/mcclatchy?image=7"><img alt="00h-modesto-text-closeup-160-xxx" src="/uploads/900009/1431439540377/00H-Modesto-Text-Closeup-160-xxx.png" style="left:1081px;" width="160" /></a> <a href="/news/updates/mcclatchy?image=8"><img alt="01-mcclatchy news slides 02c-147-xxx" src="/uploads/900009/1431384912917/01-McClatchy News slides 02c-147-xxx.png" style="left:1261px;" width="147" /></a> <a href="/news/updates/mcclatchy?image=9"><img alt="02-mcclatchy news slides 02c-147-xxx" src="/uploads/900009/1431384913629/02-McClatchy News slides 02c-147-xxx.png" style="left:1428px;" width="147" /></a> <a href="/news/updates/mcclatchy?image=10"><img alt="03-mcclatchy news slides 02c-219-xxx" src="/uploads/900009/1431384913579/03-McClatchy News slides 02c-219-xxx.png" style="left:1595px;" width="219" /></a> <a href="/news/updates/mcclatchy?image=11"><img alt="04a-sacbee-fronts-189-xxx" src="/uploads/900009/1431438400687/04A-SacBee-fronts-189-xxx.png" style="left:1834px;" width="189" /></a> <a href="/news/updates/mcclatchy?image=12"><img alt="04b-merced 1a-sports-124-xxx" src="/uploads/900009/1431438401743/04B-Merced 1A-Sports-124-xxx.png" style="left:2043px;" width="124" /></a> <a href="/news/updates/mcclatchy?image=13"><img alt="04c-sacbeeinsight-closeup2-172-xxx" src="/uploads/900009/1431438401276/04C-SacBeeInsight-closeup2-172-xxx.png" style="left:2187px;" width="172" /></a> <a href="/news/updates/mcclatchy?image=14"><img alt="04d-fresnobee-124-xxx" src="/uploads/900009/1433362853610/04D-FresnoBee-124-xxx.png" style="left:2379px;" width="124" /></a> <a href="/news/updates/mcclatchy?image=15"><img alt="04e-mcclatchy news slides 02c-4-165-xxx" src="/uploads/900009/1433362854789/04E-McClatchy News slides 02c-4-165-xxx.png" style="left:2523px;" width="165" /></a> <a href="/news/updates/mcclatchy?image=16"><img alt="05-mcclatchy news slides 02c-5-161-xxx" src="/uploads/900009/1431384914374/05-McClatchy News slides 02c-5-161-xxx.png" style="left:2708px;" width="161" /></a> <a href="/news/updates/mcclatchy?image=17"><img alt="06-mcclatchy news slides 02c-6-161-xxx" src="/uploads/900009/1431384914753/06-McClatchy News slides 02c-6-161-xxx.png" style="left:2889px;" width="161" /></a> <a href="/news/updates/mcclatchy?image=18"><img alt="07-mcclatchy news slides 02c-7-161-xxx" src="/uploads/900009/1431384914541/07-McClatchy News slides 02c-7-161-xxx.png" style="left:3070px;" width="161" /></a> <a href="/news/updates/mcclatchy?image=19"><img alt="08-mcclatchy news slides 02c-8-161-xxx" src="/uploads/900009/143138491550/08-McClatchy News slides 02c-8-161-xxx.png" style="left:3251px;" width="161" /></a> <a href="/news/updates/mcclatchy?image=20"><img alt="09-mcclatchy news slides 02c-9-161-xxx" src="/uploads/900009/1431384915306/09-McClatchy News slides 02c-9-161-xxx.png" style="left:3432px;" width="161" /></a> <a href="/news/updates/mcclatchy?image=21"><img alt="10-mcclatchy news slides 02c-10-147-xxx" src="/uploads/900009/1431384915209/10-McClatchy News slides 02c-10-147-xxx.png" style="left:3613px;" width="147" /></a> <a href="/news/updates/mcclatchy?image=22"><img alt="11-mcclatchy news slides 02c-11-147-xxx" src="/uploads/900009/143138491632/11-McClatchy News slides 02c-11-147-xxx.png" style="left:3780px;" width="147" /></a> <a href="/news/updates/mcclatchy?image=23"><img alt="12-mcclatchy news slides 02c-12-147-xxx" src="/uploads/900009/1431384916209/12-McClatchy News slides 02c-12-147-xxx.png" style="left:3947px;" width="147" /></a> <a href="/news/updates/mcclatchy?image=24"><img alt="13-mcclatchy news slides 02c-13-147-xxx" src="/uploads/900009/1431384916853/13-McClatchy News slides 02c-13-147-xxx.png" style="left:4114px;" width="147" /></a> <a href="/news/updates/mcclatchy?image=25"><img alt="14-mcclatchy news slides 02c-14-147-xxx" src="/uploads/900009/1431438863646/14-McClatchy News slides 02c-14-147-xxx.png" style="left:4281px;" width="147" /></a> <a href="/news/updates/mcclatchy?image=26"><img alt="15a-mcclatchy news slides 02c-15-147-xxx" src="/uploads/900009/1431438801303/15A-McClatchy News slides 02c-15-147-xxx.png" style="left:4448px;" width="147" /></a> <a href="/news/updates/mcclatchy?image=27"><img alt="15b-sacbeeinsight-closeup1-160-xxx" src="/uploads/900009/1431438801117/15B-SacBeeInsight-closeup1-160-xxx.png" style="left:4615px;" width="160" /></a> <a href="/news/updates/mcclatchy?image=28"><img alt="16a-mcclatchy news slides 02c-16-147-xxx" src="/uploads/900009/1431438802974/16A-McClatchy News slides 02c-16-147-xxx.png" style="left:4795px;" width="147" /></a> <a href="/news/updates/mcclatchy?image=29"><img alt="16b-modesto insight-149-xxx" src="/uploads/900009/1431438802109/16B-Modesto Insight-149-xxx.png" style="left:4962px;" width="149" /></a> <a href="/news/updates/mcclatchy?image=30"><img alt="17-mcclatchy news slides 02c-17-147-xxx" src="/uploads/900009/1431384918885/17-McClatchy News slides 02c-17-147-xxx.png" style="left:5131px;" width="147" /></a> <a href="/news/updates/mcclatchy?image=31"><img alt="18-mcclatchy news slides 02c-18-147-xxx" src="/uploads/900009/1431438863744/18-McClatchy News slides 02c-18-147-xxx.png" style="left:5298px;" width="147" /></a> <a href="/news/updates/mcclatchy?image=32"><img alt="19a-merced sports-closeup-179-xxx" src="/uploads/900009/1431438800389/19A-Merced Sports-Closeup-179-xxx.png" style="left:5465px;" width="179" /></a> <a href="/news/updates/mcclatchy?image=33"><img alt="19b-mcclatchy news slides 02c-19-147-xxx" src="/uploads/900009/1431438800686/19B-McClatchy News slides 02c-19-147-xxx.png" style="left:5664px;" width="147" /></a> <a href="/news/updates/mcclatchy?image=34"><img alt="20-mcclatchy news slides 02c-20-147-xxx" src="/uploads/900009/1431384919231/20-McClatchy News slides 02c-20-147-xxx.png" style="left:5831px;" width="147" /></a> <a href="/news/updates/mcclatchy?image=35"><img alt="21-mcclatchy news slides 02c-21-161-xxx" src="/uploads/900009/1431384919871/21-McClatchy News slides 02c-21-161-xxx.png" style="left:5998px;" width="161" /></a> <a href="/news/updates/mcclatchy?image=36"><img alt="22-mcclatchy news slides 02c-22-161-xxx" src="/uploads/900009/1431384919253/22-McClatchy News slides 02c-22-161-xxx.png" style="left:6179px;" width="161" /></a> </div> CommercialType http://commercialtype.com/news/170 Tue, 12 May 2015 00:00:00 +0000 170 Appearances: <h2>06 MAY 2015 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/0">Paul speaking at the National Print Museum in Dublin</a></h3> <p>Organized by the National Print Museum in conjunction with Typography Ireland. Tickets are limited, please contact info@nationalprintmuseum.ie to reserve a place. Time will be announced closer to the date.</p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/168 Wed, 06 May 2015 00:00:00 +0000 168 Appearances: <h2>29 APRIL 2015 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/paul_speaking_at_northumbria_university">Paul speaking at Northumbria University</a></h3> <p>Paul will be speaking at the School of Design at Northumbria University, together with the brilliant book cover designer David Pearson.</p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/169 Wed, 29 Apr 2015 00:00:00 +0000 169 Appearances: <h2>09 APRIL 2015 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/christian_schwartz_at_the_snd_conference_in_washington_dc">Christian Schwartz at the SND conference in Washington, DC</a></h3> <p>Christian Schwartz will be speaking on designing type for newspapers at a special session on type and typography at the Society for News Design conference in Washington, DC. This session has been organized by Roger Black, and the other speakers include David Berlow of Font Bureau and Dan Rhatigan of Monotype. For more information, see the <a href="http://www.snd.org/dc2015/">main conference site</a> or this page with <a href="http://www.snd.org/2014/12/typography-student-sessions-will-kick-off-snddc/">info in the special session.</a></p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/165 Thu, 09 Apr 2015 00:00:00 +0000 165 Publications, magazines, unreleased: <h2>08 APRIL 2015 | <a href="/news/categories/publications">PUBLICATIONS</a> | <a href="/news/categories/magazines">MAGAZINES</a> | <a href="/news/categories/unreleased">UNRELEASED</a></h2> <h3><a href="/news/updates/canela_by_miguel_reyes_in_document_6">Canela by Miguel Reyes in <i>Document Journal</i></a></h3> <p>Our friends and studiomates at <a href="http://documentjournal.com">Document Journal</a> have published their sixth issue. Creative director Nick Vogelson selected the Headline and Deck sizes of Miguel Reyes's typeface in progress Canela for all display type in the issue. Among Miguel's influences are the familiar warmth of Caslon and the eccentric elegance of Albertus, and the final result is neither a serif nor definitively a sans. Canela's air of warmth, quiet and grace is very well suited to the long decks and pullquotes in the issue, and its texture works well for the surrealist use of repurposed news headlines as titles for the fashion pictorials. <br><br>Canela follows in the footsteps of Portrait and Chiswick Sans, which each had a turn as the primary display typeface in the magazine long before their release.</p> <div id="news_thumbs"> <a href="/news/updates/canela_by_miguel_reyes_in_document_6?image=0"><img alt="01_coverband-120-xxx" src="/uploads/800008/1428521637445/01_Coverband-120-xxx.jpg" style="left:0px;" width="120" /></a> <a href="/news/updates/canela_by_miguel_reyes_in_document_6?image=1"><img alt="02_doc6_cover2-90-xxx" src="/uploads/800008/1428521638650/02_DOC6_COVER2-90-xxx.jpg" style="left:140px;" width="90" /></a> <a href="/news/updates/canela_by_miguel_reyes_in_document_6?image=2"><img alt="03_toc_photo-159-xxx" src="/uploads/800008/1428521639795/03_TOC_photo-159-xxx.jpg" style="left:250px;" width="159" /></a> <a href="/news/updates/canela_by_miguel_reyes_in_document_6?image=3"><img alt="04_doc6_toc-154-xxx" src="/uploads/800008/1428521639763/04_DOC6_TOC-154-xxx.jpg" style="left:429px;" width="154" /></a> <a href="/news/updates/canela_by_miguel_reyes_in_document_6?image=4"><img alt="05_ethicsofdesire-141-xxx" src="/uploads/800008/1428521640437/05_EthicsOfDesire-141-xxx.jpg" style="left:603px;" width="141" /></a> <a href="/news/updates/canela_by_miguel_reyes_in_document_6?image=5"><img alt="06_doc6_boss-1-180-xxx" src="/uploads/900009/1428521640621/06_DOC6_BOSS-1-180-xxx.jpg" style="left:764px;" width="180" /></a> <a href="/news/updates/canela_by_miguel_reyes_in_document_6?image=6"><img alt="07_arcangel-155-xxx" src="/uploads/900009/1428521641516/07_Arcangel-155-xxx.jpg" style="left:964px;" width="155" /></a> <a href="/news/updates/canela_by_miguel_reyes_in_document_6?image=7"><img alt="08_doc6_shayne-180-xxx" src="/uploads/900009/1428521642274/08_DOC6_SHAYNE-180-xxx.jpg" style="left:1139px;" width="180" /></a> <a href="/news/updates/canela_by_miguel_reyes_in_document_6?image=8"><img alt="09_doc6_shayne-cu-169-xxx" src="/uploads/900009/1428521642918/09_DOC6_SHAYNE-CU-169-xxx.jpg" style="left:1339px;" width="169" /></a> </div> CommercialType http://commercialtype.com/news/167 Wed, 08 Apr 2015 00:00:00 +0000 167 Releases: <h2>02 APRIL 2015 | <a href="/news/categories/releases">RELEASES</a></h2> <h3><a href="/news/updates/new_release_druk_text_by_berton_hasebe"><i>New release:</i> Druk Text by Berton Hasebe</a></h3> <p>Berton Hasebe has added two new families to the Druk collection: Druk Text and Druk Text Wide. These families are designed to be useful for the small elements of display typography that give structure and texture to a page without requiring dramatic changes in scale. Each is comprised of 4 weights with italics. <br><br> Druk Text is a display face designed for use at small sizes, useful for adding structure�and personality to a page without requiring any variation in point size. The family is ideal for section titles, running heads and running feet, labeling on maps, and thanks to its tabular figures, it can even be used for tables, charts, and infographics. It also works for short blocks of text, maintaining excellent legibility all the way down to 6pt. <br><br> While Druk Text was designed to fulfill a general functional need, Druk Text Wide has its roots in a specific era of graphic design. While studying catalogs designed by Willem Sandberg for the Stedelijk Museum, Berton Hasebe noticed frequent use of small sizes of Annonce Grotesk, a very wide and bold sans serif, for running feet, headers within text, and other small navigational elements. Unable to think of a contemporary typeface able to handle this job with the same ease and panache, he was inspired to adapt Druk Wide for small sizes. Druk Text Wide can also be used sparingly for short blocks of text, but it is primarily intended for display use at small sizes. Like Druk Text, it maintains its legibility all the way down to 6pt and below. <br><br> Though Druk Text has a decidedly condensed proportion, and feels extremely narrow at small sizes, the family is much wider and sets much looser than Druk. In addition to the change in proportion and tracking, terminals on characters like <strong>a</strong>, <strong>e</strong>, and <strong>s</strong> have been opened up to maintain legibility at small sizes, and small details and punctuation have been exaggerated for clarity. Druk Text Wide, on the other hand, appears quite wide and heavy in comparison to a typical text typeface, but the family is considerably narrower and lighter than Druk Wide, and also has shorter terminals for more open apertures. The Super weight of Druk Text Wide first appeared in the Etc section of <i>Bloomberg Businessweek</i>, bringing complexity and the same distinctive personality to small type that Druk Wide brings to the large headlines.<br><br> Druk Text and Druk Text Wide are available for use on the desktop, for self-hosted web use, and for embedding in mobile apps.</p> <div id="news_thumbs"> <a href="/news/updates/new_release_druk_text_by_berton_hasebe?image=0"><img alt="01_druktext-120-xxx" src="/uploads/800008/1428352971425/01_DrukText-120-xxx.png" style="left:0px;" width="120" /></a> <a href="/news/updates/new_release_druk_text_by_berton_hasebe?image=1"><img alt="02_druktextwide-120-xxx" src="/uploads/800008/1428352972841/02_DrukTextWide-120-xxx.png" style="left:140px;" width="120" /></a> <a href="/news/updates/new_release_druk_text_by_berton_hasebe?image=2"><img alt="03_druktextweights-114-xxx" src="/uploads/800008/142835302613/03_DrukTextWeights-114-xxx.png" style="left:280px;" width="114" /></a> <a href="/news/updates/new_release_druk_text_by_berton_hasebe?image=3"><img alt="04_druktext druk-180-xxx" src="/uploads/800008/1428353026711/04_DrukText Druk-180-xxx.png" style="left:414px;" width="180" /></a> <a href="/news/updates/new_release_druk_text_by_berton_hasebe?image=4"><img alt="05_druktextwideweights-122-xxx" src="/uploads/800008/1428353026684/05_DrukTextWideWeights-122-xxx.png" style="left:614px;" width="122" /></a> <a href="/news/updates/new_release_druk_text_by_berton_hasebe?image=5"><img alt="06_druktextwide drukwide-180-xxx" src="/uploads/800008/142835302743/06_DrukTextWide DrukWide-180-xxx.png" style="left:756px;" width="180" /></a> <a href="/news/updates/new_release_druk_text_by_berton_hasebe?image=6"><img alt="07_druktexttabs-196-xxx" src="/uploads/800008/1428353315475/07_DrukTextTabs-196-xxx.png" style="left:956px;" width="196" /></a> <a href="/news/updates/new_release_druk_text_by_berton_hasebe?image=7"><img alt="08_druktextwidetabs-170-xxx" src="/uploads/800008/1428353315617/08_DrukTextWideTabs-170-xxx.png" style="left:1172px;" width="170" /></a> <a href="/news/updates/new_release_druk_text_by_berton_hasebe?image=8"><img alt="09_druktextwidebw-180-xxx" src="/uploads/800008/1428353414242/09_DrukTextWideBW-180-xxx.jpeg" style="left:1362px;" width="180" /></a> </div> CommercialType http://commercialtype.com/news/166 Thu, 02 Apr 2015 00:00:00 +0000 166 Appearances: <h2>15 JANUARY 2015 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/paul_barnes_at_judgess_night_for_the_tdc">Paul Barnes at Judges’s Night for the TDC</a></h3> <p>Paul Barnes will be one of the judges for this year's TDC Typeface Design Competition, and will also speak alongside Garson Yu at the Judges' Night. More information on the competition <a href="http://www.tdc.org/news/ready-set-enter-the-tdc-2104-competitions-are-open/">is available on the TDC site.</a></p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/157 Thu, 15 Jan 2015 00:00:00 +0000 157 Publications, magazines: <h2>19 DECEMBER 2014 | <a href="/news/categories/publications">PUBLICATIONS</a> | <a href="/news/categories/magazines">MAGAZINES</a></h2> <h3><a href="/news/updates/metropolis_redesigns"><i>Metropolis</i> redesigned with Marr Sans, Publico, and Druk</a></h3> <p>Venerable architecture, interiors, and product design magazine <a href="http://metropolismag.com"><strong><i>Metropolis</i></a></strong> has unveiled a clean, smart, and well-structured new look with their December 2014 issue. The redesign was done by New York-based designers <strong><a href ="http://www.andrewleclair.com">Andrew LeClair</strong></a> and <strong><a href="http://www.adamlucas.info">Adam Lucas</i></strong>, using <strong><a href="https://commercialtype.com/typefaces/marr_sans">Marr Sans</a></strong> and <strong><a href="https://commercialtype.com/typefaces/publico">Publico Text and Text Mono</strong></a> throughout. Marr Sans performs admirably at all sizes, bringing subtle personality to delicate feature headlines, while keeping captions and both short and long blocks of text readable in the front section. Publico Text and Text Mono are mixed intelligently in the interviews, giving a distinct separation between the voices of the interviewer and interviewee while keeping them on equal levels in the hierarchy. Publico Text Mono also brings personality to very small text, including the magazine's spine, with its unusual texture. The logotype is set in <strong><a href="https://commercialtype.com/typefaces/druk/druk">Berton Hasebe's Druk</a></strong>, slightly modified to lock up tightly on the cover. </p> <div id="news_thumbs"> <a href="/news/updates/metropolis_redesigns?image=0"><img alt="01_metropolisredesign-120-xxx" src="/uploads/800008/1421358425244/01_MetropolisRedesign-120-xxx.jpg" style="left:0px;" width="120" /></a> <a href="/news/updates/metropolis_redesigns?image=1"><img alt="02_metropolisredesign-120-xxx" src="/uploads/800008/1421358426622/02_MetropolisRedesign-120-xxx.jpg" style="left:140px;" width="120" /></a> <a href="/news/updates/metropolis_redesigns?image=2"><img alt="03_metropolisredesign-97-xxx" src="/uploads/800008/1421358426837/03_MetropolisRedesign-97-xxx.jpg" style="left:280px;" width="97" /></a> <a href="/news/updates/metropolis_redesigns?image=3"><img alt="04_metropolisredesign-160-xxx" src="/uploads/800008/1421358426298/04_MetropolisRedesign-160-xxx.jpg" style="left:397px;" width="160" /></a> <a href="/news/updates/metropolis_redesigns?image=4"><img alt="05_metropolisredesign-160-xxx" src="/uploads/800008/1421358427264/05_MetropolisRedesign-160-xxx.jpg" style="left:577px;" width="160" /></a> <a href="/news/updates/metropolis_redesigns?image=5"><img alt="06_metropolisredesign-175-xxx" src="/uploads/800008/1421358427183/06_MetropolisRedesign-175-xxx.jpg" style="left:757px;" width="175" /></a> <a href="/news/updates/metropolis_redesigns?image=6"><img alt="07_metropolisredesign-120-xxx" src="/uploads/800008/1421358428214/07_MetropolisRedesign-120-xxx.jpg" style="left:952px;" width="120" /></a> <a href="/news/updates/metropolis_redesigns?image=7"><img alt="08_metropolisredesign-160-xxx" src="/uploads/800008/1421358428950/08_MetropolisRedesign-160-xxx.jpg" style="left:1092px;" width="160" /></a> <a href="/news/updates/metropolis_redesigns?image=8"><img alt="09_metropolisredesign-161-xxx" src="/uploads/800008/1421358429855/09_MetropolisRedesign-161-xxx.jpg" style="left:1272px;" width="161" /></a> <a href="/news/updates/metropolis_redesigns?image=9"><img alt="10_metropolisredesign-172-xxx" src="/uploads/800008/1421358429979/10_MetropolisRedesign-172-xxx.jpg" style="left:1453px;" width="172" /></a> <a href="/news/updates/metropolis_redesigns?image=10"><img alt="11_metropolisredesign-120-xxx" src="/uploads/800008/1421358429601/11_MetropolisRedesign-120-xxx.jpg" style="left:1645px;" width="120" /></a> <a href="/news/updates/metropolis_redesigns?image=11"><img alt="12_metropolisredesign-173-xxx" src="/uploads/800008/1421358430657/12_MetropolisRedesign-173-xxx.jpg" style="left:1785px;" width="173" /></a> <a href="/news/updates/metropolis_redesigns?image=12"><img alt="13_metropolisredesign-172-xxx" src="/uploads/800008/1421358430476/13_MetropolisRedesign-172-xxx.jpg" style="left:1978px;" width="172" /></a> <a href="/news/updates/metropolis_redesigns?image=13"><img alt="14_metropolisredesign-120-xxx" src="/uploads/800008/1421358431669/14_MetropolisRedesign-120-xxx.jpg" style="left:2170px;" width="120" /></a> <a href="/news/updates/metropolis_redesigns?image=14"><img alt="15_metropolisredesign-160-xxx" src="/uploads/800008/1421358431744/15_MetropolisRedesign-160-xxx.jpg" style="left:2310px;" width="160" /></a> </div> CommercialType http://commercialtype.com/news/164 Fri, 19 Dec 2014 00:00:00 +0000 164 Appearances: <h2>19 DECEMBER 2014 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/brush_lettering_workshop_with_miguel_reyes_in_oaxaca">Brush lettering workshop with Miguel Reyes in Oaxaca</a></h3> <p>Miguel will be giving a 2-day workshop on brush lettering as part of the Proyecta series of events being held between December and February to promote design and innovation in the state of Oaxaca in Mexico. Miguel's workshop will be free of charge but is limited to 15 participants. For more information or to sign up, see the <a href="http://www.proyecta.cdo.gob.mx">Proyecta website</a> or the <a href="http://cdo.gob.mx/esp/zaachila/">page for the workshop</a>. Commercial Type is happy to have sponsored this series of events with a license for the Duplicate collection, which has been used to great effect in their branding.</p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/163 Fri, 19 Dec 2014 00:00:00 +0000 163 Posters: <h2>11 DECEMBER 2014 | <a href="/news/categories/posters">POSTERS</a></h2> <h3><a href="/news/updates/posters_for_dala_prisma">Posters for Dala Prisma in New York and London</a></h3> <p>We've printed a set of three posters for Dala Prisma, and they've been wheatpasted around New York and London. Please let us know if you see the posters around. We will be making a number of them available for purchase in early 2015. Watch this space for more information.</p> <div id="news_thumbs"> <a href="/news/updates/posters_for_dala_prisma?image=0"><img alt="01_dpsoho-90-xxx" src="/uploads/800008/1418328491553/01_DPSoho-90-xxx.jpg" style="left:0px;" width="90" /></a> <a href="/news/updates/posters_for_dala_prisma?image=1"><img alt="02_dpchinatown4-159-xxx" src="/uploads/800008/1418328491858/02_DPChinatown4-159-xxx.jpg" style="left:110px;" width="159" /></a> <a href="/news/updates/posters_for_dala_prisma?image=2"><img alt="03_dpchinatown3-160-xxx" src="/uploads/800008/1418328492471/03_DPChinatown3-160-xxx.jpg" style="left:289px;" width="160" /></a> <a href="/news/updates/posters_for_dala_prisma?image=3"><img alt="04_dpchinatown-120-xxx" src="/uploads/800008/1418328493235/04_DPChinatown-120-xxx.jpg" style="left:469px;" width="120" /></a> <a href="/news/updates/posters_for_dala_prisma?image=4"><img alt="06_dpbrooklyn-165-xxx" src="/uploads/800008/1418328494894/06_DPBrooklyn-165-xxx.jpg" style="left:609px;" width="165" /></a> <a href="/news/updates/posters_for_dala_prisma?image=5"><img alt="07_dpbrooklyn-120-xxx" src="/uploads/800008/141832849596/07_DPBrooklyn-120-xxx.jpg" style="left:794px;" width="120" /></a> <a href="/news/updates/posters_for_dala_prisma?image=6"><img alt="08_dpbrooklyn-120-xxx" src="/uploads/800008/1418328495785/08_DPBrooklyn-120-xxx.jpg" style="left:934px;" width="120" /></a> <a href="/news/updates/posters_for_dala_prisma?image=7"><img alt="09_dpbrooklyn-152-xxx" src="/uploads/800008/1418328495990/09_DPBrooklyn-152-xxx.jpg" style="left:1074px;" width="152" /></a> <a href="/news/updates/posters_for_dala_prisma?image=8"><img alt="10_dpbrooklyn-160-xxx" src="/uploads/800008/1418328496434/10_DPBrooklyn-160-xxx.jpg" style="left:1246px;" width="160" /></a> <a href="/news/updates/posters_for_dala_prisma?image=9"><img alt="11_dpbrooklyn-120-xxx" src="/uploads/800008/1418328496240/11_DPBrooklyn-120-xxx.jpg" style="left:1426px;" width="120" /></a> <a href="/news/updates/posters_for_dala_prisma?image=10"><img alt="12_dpbrooklyn-90-xxx" src="/uploads/800008/1418328497993/12_DPBrooklyn-90-xxx.jpg" style="left:1566px;" width="90" /></a> <a href="/news/updates/posters_for_dala_prisma?image=11"><img alt="13_dpbrooklyn-120-xxx" src="/uploads/800008/1418328497661/13_DPBrooklyn-120-xxx.jpg" style="left:1676px;" width="120" /></a> <a href="/news/updates/posters_for_dala_prisma?image=12"><img alt="14_dplondon01-184-xxx" src="/uploads/800008/1418328497288/14_DPLondon01-184-xxx.jpg" style="left:1816px;" width="184" /></a> <a href="/news/updates/posters_for_dala_prisma?image=13"><img alt="15_dplondon02-120-xxx" src="/uploads/800008/1418328498999/15_DPLondon02-120-xxx.jpg" style="left:2020px;" width="120" /></a> <a href="/news/updates/posters_for_dala_prisma?image=14"><img alt="16_dplondon03-120-xxx" src="/uploads/800008/141832849836/16_DPLondon03-120-xxx.jpg" style="left:2160px;" width="120" /></a> <a href="/news/updates/posters_for_dala_prisma?image=15"><img alt="17_dplondon04-187-xxx" src="/uploads/800008/1418328499351/17_DPLondon04-187-xxx.jpg" style="left:2300px;" width="187" /></a> </div> CommercialType http://commercialtype.com/news/162 Thu, 11 Dec 2014 00:00:00 +0000 162 Releases: <h2>01 DECEMBER 2014 | <a href="/news/categories/releases">RELEASES</a></h2> <h3><a href="/news/updates/dala_prisma"><i>New release:</i> Dala Prisma by Paul Barnes and Ben Kiel</a></h3> <p>Dala Prisma is a development of the stencil typeface Dala Floda, replacing the solid forms with a series of stripes which vary in width, offering a wonderful optical effect. The family was conceived by Paul Barnes and drawn by Ben Kiel of Typefounding, using a purpose-built tool by the brilliant Frederik Berlaen, the creator of Robofont. Dala Prisma is available in three weights: Roman, with 3 strokes; Bold, with 4 strokes; and a striking Fat, with 5 strokes. <br><br> Stripes have always fascinated humans; we are drawn to and repelled by these forms found in the natural and manmade worlds. In the visual arts we find them everywhere. Typefaces with inscribed lines appeared in the Eighteenth century, but the first striped letter was probably made by Edmund Fry during the early years of the Nineteenth century. During the twentieth century the Klingspor foundry released a version of Rudolf Koch’s Kabel, named Prisma in the early 1930s, seemingly inspired by the striped neon letters found at night across Germany. In Dala Prisma, this optical effect is applied to the Renaissance style stencil, Dala Floda. The variation between thick and thin is exaggerated with multiple lines, which increase in number as the typefaces becomes bolder. With both roman and italic variants, Dala Prisma is a uniquely powerful display typeface. <br><br> Like Dala Floda, Dala Prisma has a full set of typographic features, including small capitals for the romans, an extensive set of ligatures, and expressive swash alternates for many italic capitals. The extreme thinning of lines means this family only works at large display sizes.</p> <div id="news_thumbs"> <a href="/news/updates/dala_prisma?image=0"><img alt="01_dalaprisma-title-160-xxx" src="/uploads/800008/1417364505746/01_DalaPrisma-title-160-xxx.png" style="left:0px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=1"><img alt="02_dalaprisma-description-160-xxx" src="/uploads/800008/1417364844126/02_DalaPrisma-description-160-xxx.png" style="left:180px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=2"><img alt="03_dalaprisma-description2-160-xxx" src="/uploads/800008/1417364845982/03_DalaPrisma-description2-160-xxx.png" style="left:360px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=3"><img alt="04_dalaprisma-regular-160-xxx" src="/uploads/800008/1417364845343/04_DalaPrisma-Regular-160-xxx.png" style="left:540px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=4"><img alt="05_dalaprisma-bold-160-xxx" src="/uploads/800008/1417364845668/05_DalaPrisma-Bold-160-xxx.png" style="left:720px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=5"><img alt="06_dalaprisma-fat-160-xxx" src="/uploads/800008/1417364846380/06_DalaPrisma-Fat-160-xxx.png" style="left:900px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=6"><img alt="07_dalaprisma-reguc-160-xxx" src="/uploads/800008/1417364846307/07_DalaPrisma-RegUC-160-xxx.png" style="left:1080px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=7"><img alt="08_dalaprisma-bolduc-160-xxx" src="/uploads/800008/1417364846680/08_DalaPrisma-BoldUC-160-xxx.png" style="left:1260px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=8"><img alt="09_dalaprisma-fatuc-160-xxx" src="/uploads/800008/1417364844145/09_DalaPrisma-FatUC-160-xxx.png" style="left:1440px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=9"><img alt="10_dalaprisma-collection-160-xxx" src="/uploads/800008/1417364510399/10_DalaPrisma-collection-160-xxx.png" style="left:1620px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=10"><img alt="11_dalaprisma-stripes-160-xxx" src="/uploads/800008/1417364510421/11_DalaPrisma-stripes-160-xxx.png" style="left:1800px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=11"><img alt="12_dalaprisma-text-160-xxx" src="/uploads/800008/1417364510919/12_DalaPrisma-text-160-xxx.png" style="left:1980px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=12"><img alt="13_dalaprisma-textital-160-xxx" src="/uploads/800008/14173645118/13_DalaPrisma-textital-160-xxx.png" style="left:2160px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=13"><img alt="14_dalaprisma-textuc-160-xxx" src="/uploads/800008/1417364511144/14_DalaPrisma-textUC-160-xxx.png" style="left:2340px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=14"><img alt="15_dalaprisma-textucital-160-xxx" src="/uploads/800008/1417364512156/15_DalaPrisma-textUCital-160-xxx.png" style="left:2520px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=15"><img alt="16_dalaprisma-swash-160-xxx" src="/uploads/800008/1417364512792/16_DalaPrisma-swash-160-xxx.png" style="left:2700px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=16"><img alt="17_dalaprisma-sc-160-xxx" src="/uploads/800008/1417364513645/17_DalaPrisma-SC-160-xxx.png" style="left:2880px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=17"><img alt="18_dalaprisma-figures-160-xxx" src="/uploads/800008/1417364513844/18_DalaPrisma-figures-160-xxx.png" style="left:3060px;" width="160" /></a> <a href="/news/updates/dala_prisma?image=18"><img alt="19_dalaprisma-ligatures-160-xxx" src="/uploads/800008/1417364514781/19_DalaPrisma-ligatures-160-xxx.png" style="left:3240px;" width="160" /></a> </div> CommercialType http://commercialtype.com/news/161 Mon, 01 Dec 2014 00:00:00 +0000 161 Appearances: <h2>11 NOVEMBER 2014 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/redesigning_ivanity_fairi_chris_dixon_christian_schwartz_at_the_new_york_tdc">Redesigning <i>Vanity Fair</i>: Chris Dixon & Christian Schwartz at the New York TDC</a></h3> <p>From the TDC website: Chris Dixon arrived at <i>Vanity Fair</i> in 2011 from <i>New York</i> magazine. He began reworking the typography, page design, illustrations, infographics, and photography to evolve the iconic publication section by section. In 2012, he started his collaboration with Christian Schwartz and Paul Barnes of Commercial Type on a six-month process to redesign <i>Vanity Fair</i>’s logo and create a new custom display typeface, a fresh interpretation of Didot that debuted in 2013. For more information or to register online, <a href="http://www.tdc.org/event/redesigning-vanity-fair-chris-dixon-and-christian-schwartz/">see the TDC site.</a></p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/156 Tue, 11 Nov 2014 00:00:00 +0000 156 Releases: <h2>04 NOVEMBER 2014 | <a href="/news/categories/releases">RELEASES</a></h2> <h3><a href="/news/updates/new_release_produkt"><i>New Release:</i> Produkt by Berton Hasebe and Christian Schwartz</a></h3> <p>Drawn by Berton Hasebe, <strong><a href="http://commercialtype.com/typefaces/graphik/produkt">Produkt</a></strong> is the slab serif version of the sans <strong><a href="http://commercialtype.com/typefaces/graphik">Graphik</a></strong> family. This typeface follows the twentieth century tradition of adding slabs to a European Grotesk to create an attractive and functional companion serif typeface. Its serifs are relatively short, particularly in the heaviest weights, so it retains the compact proportions and regular texture that characterize Graphik. <br><br> The idea of adding serifs at Graphik at first seemed too obvious, and Christian Schwartz had dismissed the idea out of hand, but demand from users of the original made us speculate that it might be worth exploring. Berton Hasebe’s early sketches had an unexpected charm: the warmth of Graphik shone through, with the shortness of the serifs keeping it from looking clumsy. Hasebe then finished the family to match the full range of weights that make Graphik so useful. The light weights are pretty, the middle weights are functional, and the heavy weights have a feeling of authority, all suffused with the appealing geometry seen in Graphik. A handful of alternates change the overall tone of the typeface to a surprising degree. <br><br> The family made its debut in Ariel Cepeda's redesign of the Sunday edition of <i>Le Matin</i>, a French-language newspaper published in Lausanne, Switzerland. The heaviest weights give punch to section heads, while the other weights give structure to the opinion and sport sections. The light weights are used throughout <i>Femina</i>, the newspaper's weekly magazine for women.</p> <div id="news_thumbs"> <a href="/news/updates/new_release_produkt?image=0"><img alt="01_produkt_fam-rom-191-xxx" src="/uploads/800008/1416606379585/01_Produkt_fam-rom-191-xxx.png" style="left:0px;" width="191" /></a> <a href="/news/updates/new_release_produkt?image=1"><img alt="02_produkt_fam-ital-191-xxx" src="/uploads/800008/1416606379518/02_Produkt_fam-ital-191-xxx.png" style="left:211px;" width="191" /></a> <a href="/news/updates/new_release_produkt?image=2"><img alt="03_produkt_caps-181-xxx" src="/uploads/800008/1416606380322/03_Produkt_caps-181-xxx.png" style="left:422px;" width="181" /></a> <a href="/news/updates/new_release_produkt?image=3"><img alt="04_produkt graphik-236-xxx" src="/uploads/800008/1416606380971/04_Produkt Graphik-236-xxx.png" style="left:623px;" width="236" /></a> <a href="/news/updates/new_release_produkt?image=4"><img alt="05_produkt_serifs-190-xxx" src="/uploads/800008/1416606380801/05_Produkt_serifs-190-xxx.png" style="left:879px;" width="190" /></a> <a href="/news/updates/new_release_produkt?image=5"><img alt="06_produkt_weights-138-xxx" src="/uploads/800008/1416606733519/06_Produkt_weights-138-xxx.png" style="left:1089px;" width="138" /></a> <a href="/news/updates/new_release_produkt?image=6"><img alt="07_produkt_alts-131-xxx" src="/uploads/800008/1416606734521/07_Produkt_alts-131-xxx.png" style="left:1247px;" width="131" /></a> <a href="/news/updates/new_release_produkt?image=7"><img alt="08_lmd_acteur_photo-163-xxx" src="/uploads/800008/1416606734299/08_LMD_Acteur_photo-163-xxx.jpg" style="left:1398px;" width="163" /></a> <a href="/news/updates/new_release_produkt?image=8"><img alt="09_lmd_page22-145-xxx" src="/uploads/800008/1416606378310/09_LMD_page22-145-xxx.jpg" style="left:1581px;" width="145" /></a> <a href="/news/updates/new_release_produkt?image=9"><img alt="10_fem_toc-203-xxx" src="/uploads/800008/1416606735779/10_Fem_TOC-203-xxx.jpg" style="left:1746px;" width="203" /></a> </div> CommercialType http://commercialtype.com/news/160 Tue, 04 Nov 2014 00:00:00 +0000 160 Custom typefaces, exhibitions: <h2>01 NOVEMBER 2014 | <a href="/news/categories/custom typefaces">CUSTOM TYPEFACES</a> | <a href="/news/categories/exhibitions">EXHIBITIONS</a></h2> <h3><a href="/news/updates/caslon_doric_for_the_2nd_istanbul_design_biennial">Caslon Doric for the 2nd Istanbul Design Biennial</a></h3> <p>Paul Barnes and Christian Schwartz have drawn a custom version of Paul's Caslon Doric Black for the identity of the 2nd Istanbul Design Biennial, designed by Project Projects. <br><br>From the press release: <i>“Organised by the Istanbul Foundation for Culture and Arts (İKSV), curated by Zoë Ryan and associate curator Meredith Carruthers, the theme of this year’s edition is The Future Is Not What It Used To Be.<br> Under this overarching title, Zoë Ryan revisits the manifesto as a platform and catalyst for critical thinking in design. The biennial asks, how can we reclaim the manifesto for the 21st century and beyond, not only in the production of texts, but through actions, services, provocations, or objects and seize the potential to incite inventive outcomes?”<br><br></i> Inspired by old political tracts, the typeface has four italic styles in total: more and less urgent angles, each slanted both forward and back. This allows the designers to use shifting emphasis to draw different meanings out of the text. The typeface is used to ask provocative questions in both English and Turkish on the interior and exterior of the Galata Greek Primary School, the main venue for the biennial.<br><br> The Turkish accents have been aggressively simplified. The breve over Ğ, typically a curved form, is instead a flat stroke, and the accents below Ç and Ş are reduced to simple dots, matching the dot over İ. These simplifications have been taken from lettering and sign painting styles common in Turkey, and allow for the tight line spacing the designers needed to create a very dense texture.</p> <div id="news_thumbs"> <a href="/news/updates/caslon_doric_for_the_2nd_istanbul_design_biennial?image=0"><img alt="01_idb-logotype-black-164-xxx" src="/uploads/800008/1415026708948/01_IDB-logotype-black-164-xxx.png" style="left:0px;" width="164" /></a> <a href="/news/updates/caslon_doric_for_the_2nd_istanbul_design_biennial?image=1"><img alt="02_idb-english-145-xxx" src="/uploads/800008/1415026684874/02_IDB-English-145-xxx.png" style="left:184px;" width="145" /></a> <a href="/news/updates/caslon_doric_for_the_2nd_istanbul_design_biennial?image=2"><img alt="03_idb-angles2-164-xxx" src="/uploads/800008/1415026869665/03_IDB-angles2-164-xxx.png" style="left:349px;" width="164" /></a> <a href="/news/updates/caslon_doric_for_the_2nd_istanbul_design_biennial?image=3"><img alt="04_idb-turkish-185-xxx" src="/uploads/800008/1415027022391/04_IDB-Turkish-185-xxx.png" style="left:533px;" width="185" /></a> </div> CommercialType http://commercialtype.com/news/159 Sat, 01 Nov 2014 00:00:00 +0000 159 Publications, newspapers, magazines, unreleased: <h2>21 OCTOBER 2014 | <a href="/news/categories/publications">PUBLICATIONS</a> | <a href="/news/categories/newspapers">NEWSPAPERS</a> | <a href="/news/categories/magazines">MAGAZINES</a> | <a href="/news/categories/unreleased">UNRELEASED</a></h2> <h3><a href="/news/updates/produkt_debuts_in_le_dimanche_matin">Produkt debuts in <i>Le Dimanche Matin</i> and <i>Femina</i>, redesigned by Ariel Cepeda</a></h3> <p>Ariel Cepeda has redesigned <i>Le Dimanche Matin</i>, the Sunday edition of the Lausanne-based French language Daily <i>Le Dimanche</i>, serving the Vaud region. Headline typography is in Kai Bernau's <strong><a href="http://commercialtype.com/typefaces/lyon/lyon_display">Lyon Display</strong></a> and <strong>Produkt</strong>, a slab serif companion to <strong><a href="http://commercialtype.com/typefaces/graphik">Graphik</strong></a> designed by Berton Hasebe with Christian Schwartz, slated for release in November 2014. Text is in Bernau's <strong><a href="http://commercialtype.com/typefaces/lyon/lyon_text">Lyon Text</strong></a>, with Graphik playing a supporting role in image captions, info graphics, maps, and other informational typography.<br><br>Cepeda has also redesigned the weekly women's magazine <i>Femina</i>, making bold use of Hasebe's <strong><a href="http://commercialtype.com/typefaces/platform">Platform</strong></a> and Paul Barnes's complete <strong><a href="http://commercialtype.com/typefaces/austin">Austin collection</strong></a>, with Austin Text for text and Austin and Austin Hairline for serif display. Produkt rounds out the type palette here as well, with the middle weights used for sidebars, the boldest weights used for section headers, coverlines, and page furniture, and the prettier light weights used for elegant display typography.</p> <div id="news_thumbs"> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=0"><img alt="01_lmd_page01-80-xxx" src="/uploads/700007/14144465670/01_LMD_page01-80-xxx.jpg" style="left:0px;" width="80" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=1"><img alt="02_lmd_frontpage3-92-xxx" src="/uploads/700007/141444656728/02_LMD_frontpage3-92-xxx.jpg" style="left:100px;" width="92" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=2"><img alt="03_lmd_page0203-161-xxx" src="/uploads/700007/1414446568907/03_LMD_page0203-161-xxx.jpg" style="left:212px;" width="161" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=3"><img alt="04_lmd_sport econ-160-xxx" src="/uploads/700007/1414446568976/04_LMD_Sport Econ-160-xxx.jpg" style="left:393px;" width="160" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=4"><img alt="05_lmd_text-169-xxx" src="/uploads/700007/1414446569873/05_LMD_text-169-xxx.jpg" style="left:573px;" width="169" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=5"><img alt="06_lmd_acteur-80-xxx" src="/uploads/700007/1414446569416/06_LMD_Acteur-80-xxx.jpg" style="left:762px;" width="80" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=6"><img alt="07_lmd_economie-80-xxx" src="/uploads/700007/1414446570616/07_LMD_Economie-80-xxx.jpg" style="left:862px;" width="80" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=7"><img alt="08_lmd_text2-155-xxx" src="/uploads/700007/1414446570229/08_LMD_text2-155-xxx.jpg" style="left:962px;" width="155" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=8"><img alt="09_lmd_acteur_photo-163-xxx" src="/uploads/800008/1414446571462/09_LMD_Acteur_photo-163-xxx.jpg" style="left:1137px;" width="163" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=9"><img alt="10_lmd_page14-162-xxx" src="/uploads/800008/1414446571687/10_LMD_page14-162-xxx.jpg" style="left:1320px;" width="162" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=10"><img alt="11_lmd_germs-160-xxx" src="/uploads/800008/1414446572142/11_LMD_germs-160-xxx.jpg" style="left:1502px;" width="160" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=11"><img alt="12_lmd_page22-145-xxx" src="/uploads/800008/1414446572852/12_LMD_page22-145-xxx.jpg" style="left:1682px;" width="145" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=12"><img alt="13_lmd_entertainment-182-xxx" src="/uploads/800008/1414446573448/13_LMD_entertainment-182-xxx.jpg" style="left:1847px;" width="182" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=13"><img alt="14_fem_page01a-90-xxx" src="/uploads/800008/1414446573832/14_Fem_page01a-90-xxx.jpg" style="left:2049px;" width="90" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=14"><img alt="15_fem_page01b-90-xxx" src="/uploads/800008/141444657428/15_Fem_page01b-90-xxx.jpg" style="left:2159px;" width="90" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=15"><img alt="16_fem_covercrop-156-xxx" src="/uploads/800008/1414446574737/16_Fem_covercrop-156-xxx.jpg" style="left:2269px;" width="156" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=16"><img alt="17_fem_toc-203-xxx" src="/uploads/800008/1414446575669/17_Fem_TOC-203-xxx.jpg" style="left:2445px;" width="203" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=17"><img alt="18_fem_page04-90-xxx" src="/uploads/800008/1414446575938/18_Fem_page04-90-xxx.jpg" style="left:2668px;" width="90" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=18"><img alt="19_fem_page06-180-xxx" src="/uploads/800008/1414446576434/19_Fem_page06-180-xxx.jpg" style="left:2778px;" width="180" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=19"><img alt="20_fem_text-165-xxx" src="/uploads/800008/1414446576668/20_Fem_text-165-xxx.jpg" style="left:2978px;" width="165" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=20"><img alt="21_fem_page21-180-xxx" src="/uploads/700007/1414446566659/21_Fem_page21-180-xxx.jpg" style="left:3163px;" width="180" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=21"><img alt="22_fem_3way-177-xxx" src="/uploads/700007/1414446566370/22_Fem_3way-177-xxx.jpg" style="left:3363px;" width="177" /></a> <a href="/news/updates/produkt_debuts_in_le_dimanche_matin?image=22"><img alt="23_fem_fantasmes-157-xxx" src="/uploads/800008/1414472278175/23_Fem_fantasmes-157-xxx.jpg" style="left:3560px;" width="157" /></a> </div> CommercialType http://commercialtype.com/news/158 Tue, 21 Oct 2014 00:00:00 +0000 158 Appearances: <h2>16 OCTOBER 2014 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/paul_barnes_speaking_at_les_didot_et_la_typographie_moderne_17821819">Paul Barnes at “Les Didot et la typographie moderne (1782–1819)”</a></h3> <p>Paul will be one of the speakers at a symposium on Didot and Modern typefaces, organized by Sébas­tien Morli­ghem. The other speakers include James Mosley, François Rappo, and Loïc Sander. <a href="http://www.pointypo.com/les-didot-typographie-moderne-1782-1819-conferences-exposition/">See more at the conference website</a> (in French).</p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/153 Thu, 16 Oct 2014 00:00:00 +0000 153 Specimen book: <h2>11 OCTOBER 2014 | <a href="/news/categories/specimen book">SPECIMEN BOOK</a></h2> <h3><a href="/news/updates/specimen_of_typefaces_by_commercial_type">Specimen of Typefaces by Commercial Type, 2010–2014</a></h3> <p><del>We have a limited number of our 2010-2014 type specimen books left.</del> We were overwhelmed by demand for the specimens, and they went much more quickly than we expected. We plan to print a new specimen in 2015, so do send your address if you would like to be on the mailing list for the next one:<strong>specimen@commercialtype.com</strong>.</p> <div id="news_thumbs"> <a href="/news/updates/specimen_of_typefaces_by_commercial_type?image=0"><img alt="01-20102014_covers-157-xxx" src="/uploads/700007/1413066964911/01-20102014_covers-157-xxx.jpg" style="left:0px;" width="157" /></a> <a href="/news/updates/specimen_of_typefaces_by_commercial_type?image=1"><img alt="03-20102014_interiors-159-xxx" src="/uploads/700007/1413066968494/03-20102014_interiors-159-xxx.jpg" style="left:177px;" width="159" /></a> <a href="/news/updates/specimen_of_typefaces_by_commercial_type?image=2"><img alt="04-20102014_interiorsecu-169-xxx" src="/uploads/700007/1413066973107/04-20102014_interiorsECU-169-xxx.jpg" style="left:356px;" width="169" /></a> </div> CommercialType http://commercialtype.com/news/155 Sat, 11 Oct 2014 00:00:00 +0000 155 Releases: <h2>08 OCTOBER 2014 | <a href="/news/categories/releases">RELEASES</a></h2> <h3><a href="/news/updates/new_release_darby_sans"><i>New Release:</i> Darby Sans by Paul Barnes and Dan Milne</a></h3> <p>Commercial Type is delighted to announce the release of Darby Sans, a contemporary family of two related sans serifs: one is the functional Darby Sans; the other a more delicate and refined display version for large sizes, where the contrast is dramatically higher. In style they can be described as humanist designs. Originally designed for <i>Wallpaper*</i> magazine, they are suited for many uses spanning editorial design, graphic design, corporate design and through to advertising. <br><br>Drawn by Paul Barnes together with Dan Milne, the roots of Darby lie in the British tradition of lettering and typefounding that began to flower in the middle of the eighteenth century. Behind the contemporary bodies, one can see the structural qualities of the three major type founders of this period; John Baskerville of Birmingham, Joseph Fry of Bristol and Alexander Wilson of Glasgow. The high body of the bowl of the <b>a</b>, the open <b>g</b>, and the bow in the <b>£</b> are all typical of the style. Both families have contrast between thick and thin strokes, a trait that has been unfashionable in sans serifs for many years, but has more recently seemed ripe for new exploration. Darby Sans, with its lower but still visible contrast, takes on the functional job of any contemporary sans serif, while Darby Sans Poster is a display typeface where the contrast is dramatically increased for greater elegance.<br><br>Darby Sans is a contemporary humanist sans serif that is at its heart a workhorse.<br>The family works effortlessly in all situations, from small text sizes to large, bold display use. We feel that it may be our best screen typeface to date, maintaining both readability and personality from 10px up to the largest display sizes. Rather than following the typical British sans serif model of Gill and Johnston, Darby Sans looks back instead to the eighteenth century. At its heart in the roman it follows the transitional forms found in the typefaces of Baskerville, Fry & Wilson, but also in the vernacular lettering style found in everyday life. These are the letters of the Age of Enlightenment; the name itself comes from the Darby family, famed pioneers of the industrial revolution. Stripping these forms of serifs and contrast renders an open and intelligent sans serif typeface suited for both print and for screen use. <br><br>High-contrast sans serifs offer a form of beauty and refinement we more typically associate with serif letters of luxury and elegance. Darby Sans Poster mixes the traditional skeleton of the transitional letter with a stripped down sans form to create a modern display face. Sans letters with high contrast reappeared in Britain in the late eighteenth and early nineteenth centuries, and Darby Sans Poster draws on these sources: lettering found on memorials, lettering on coins, and later in the typefaces of the Figgins foundry. While Darby Sans chooses a simple slanted italic, Darby Sans Poster’s italics are patterned on the condensed and upright style of Joseph Fry. More limited in use than its lower contrast sibling, Darby Sans Poster works best at large sizes where its beauty can truly sparkle.<br><br>A handful of alternates subtly modernize the forms, removing the tail from the lowercase <i>a</i> for tighter spacing, and closing the gap on the lowercase <i>g</i>.<br><br>Darby Sans and Darby Sans Poster each come in seven weights with italics. The collection is available for use on the desktop, for self-hosted web use, and for embedding in mobile apps.</p> <div id="news_thumbs"> <a href="/news/updates/new_release_darby_sans?image=0"><img alt="01-darbysans_rom-200-xxx" src="/uploads/700007/1412776079732/01-DarbySans_rom-200-xxx.png" style="left:0px;" width="200" /></a> <a href="/news/updates/new_release_darby_sans?image=1"><img alt="02-darbysans_ital-200-xxx" src="/uploads/700007/1412776079338/02-DarbySans_ital-200-xxx.png" style="left:220px;" width="200" /></a> <a href="/news/updates/new_release_darby_sans?image=2"><img alt="03-darbysans_text-200-xxx" src="/uploads/700007/1412776080981/03-DarbySans_text-200-xxx.png" style="left:440px;" width="200" /></a> <a href="/news/updates/new_release_darby_sans?image=3"><img alt="04-darbysans_sans posterrom-200-xxx" src="/uploads/700007/141277608047/04-DarbySans_Sans PosterRom-200-xxx.png" style="left:660px;" width="200" /></a> <a href="/news/updates/new_release_darby_sans?image=4"><img alt="05-darbysans_sans posterital-200-xxx" src="/uploads/700007/1412776081569/05-DarbySans_Sans PosterItal-200-xxx.png" style="left:880px;" width="200" /></a> <a href="/news/updates/new_release_darby_sans?image=5"><img alt="06-darbysans_posterrom-200-xxx" src="/uploads/700007/1412776081844/06-DarbySans_posterrom-200-xxx.png" style="left:1100px;" width="200" /></a> <a href="/news/updates/new_release_darby_sans?image=6"><img alt="07-darbysans_posterita-200-xxx" src="/uploads/700007/1412776082958/07-DarbySans_posterita-200-xxx.png" style="left:1320px;" width="200" /></a> <a href="/news/updates/new_release_darby_sans?image=7"><img alt="08-darbysans_posterrombig-200-xxx" src="/uploads/700007/1412776083900/08-DarbySans_posterrombig-200-xxx.png" style="left:1540px;" width="200" /></a> <a href="/news/updates/new_release_darby_sans?image=8"><img alt="09-darbysans_posteritalbig-200-xxx" src="/uploads/700007/1412776083920/09-DarbySans_posteritalbig-200-xxx.png" style="left:1760px;" width="200" /></a> <a href="/news/updates/new_release_darby_sans?image=9"><img alt="10-darbysans_figures-200-xxx" src="/uploads/700007/1412776084929/10-DarbySans_figures-200-xxx.png" style="left:1980px;" width="200" /></a> <a href="/news/updates/new_release_darby_sans?image=10"><img alt="11-darbysans_alts-200-xxx" src="/uploads/700007/1412776084386/11-DarbySans_alts-200-xxx.png" style="left:2200px;" width="200" /></a> </div> CommercialType http://commercialtype.com/news/154 Wed, 08 Oct 2014 00:00:00 +0000 154 Appearances: <h2>02 OCTOBER 2014 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/paul_barnes_speaking_in_edinburgh">Paul Barnes speaking in Edinburgh</a></h3> <p>Paul will be speaking at an event held by LongLunch in Edinburgh, Scotland, where he will discuss Marr Sans, among many other things. Tickets will be on sale soon. Please <a href="http://www.longlunch.com/emails/event57">see the event page for more information</a></p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/141 Thu, 02 Oct 2014 00:00:00 +0000 141 Poster: <h2>29 SEPTEMBER 2014 | <a href="/news/categories/poster">POSTER</a></h2> <h3><a href="/news/updates/a_poster_by_peter_saville">A limited edition poster by Peter Saville for Paul’s LongLunch talk in Edinburgh</a></h3> <p>Attendees at Paul's talk in Edinburgh on 2 October can get a very special poster designed in Marian 1812, a typeface based on the first Scottish moderns of the Wilson foundry, by the legend that is Peter Saville. Printing by <a href="http://www.ashtonscreenprint.com/">Ashton Screepnprint</a>; Photograph by <a href ="http://www.burniston.com/">Gordon Burniston</a>.</p> <div id="news_thumbs"> <a href="/news/updates/a_poster_by_peter_saville?image=0"><img alt="Barnesbyburniston-large-173-xxx" src="/uploads/700007/1412007614477/BarnesByBurniston-large-173-xxx.jpg" style="left:0px;" width="173" /></a> </div> CommercialType http://commercialtype.com/news/150 Mon, 29 Sep 2014 00:00:00 +0000 150 Publications, lettering: <h2>29 SEPTEMBER 2014 | <a href="/news/categories/publications">PUBLICATIONS</a> | <a href="/news/categories/lettering">LETTERING</a></h2> <h3><a href="/news/updates/lettering_for_bon_appetit_party_issue">Lettering for <i>Bon Appétit</i>’s Party Issue</a></h3> <p>Miguel Reyes lettered a number of headlines and dropcaps for <i>Bon Appétit</i>’s October 2014 "Party Issue" special package. Working from the opening titles of a Royal Ascot horse race from the 1970s, several Tuscan alphabets drawn for Photolettering Inc., and both British and American Tuscan display faces from the 19th century, Miguel came up with a lettering style that could tie together the disparate articles in the package under the guiding theme of "Party Like Your Parents". The October 2014 issue also marks a minor redesign of the front section and the introduction of <a href="http://commercialtype.com/typefaces/caponi"><strong>Caponi Text</strong</a> as the text face for longer articles.</p> <div id="news_thumbs"> <a href="/news/updates/lettering_for_bon_appetit_party_issue?image=0"><img alt="01-baparty-opener-164-xxx" src="/uploads/700007/1412010417280/01-BAParty-opener-164-xxx.jpg" style="left:0px;" width="164" /></a> <a href="/news/updates/lettering_for_bon_appetit_party_issue?image=1"><img alt="02-baparty-opener-cu-114-xxx" src="/uploads/700007/1412010417468/02-BAParty-opener-CU-114-xxx.jpg" style="left:184px;" width="114" /></a> <a href="/news/updates/lettering_for_bon_appetit_party_issue?image=2"><img alt="03-baparty-serve-166-xxx" src="/uploads/700007/1412010516818/03-BAParty-serve-166-xxx.jpg" style="left:318px;" width="166" /></a> <a href="/news/updates/lettering_for_bon_appetit_party_issue?image=3"><img alt="04-baparty-serve_ecu-163-xxx" src="/uploads/700007/1412010516660/04-BAParty-serve_ECU-163-xxx.jpg" style="left:504px;" width="163" /></a> <a href="/news/updates/lettering_for_bon_appetit_party_issue?image=4"><img alt="05-baparty-pizza-153-xxx" src="/uploads/700007/141201041873/05-BAParty-pizza-153-xxx.jpg" style="left:687px;" width="153" /></a> <a href="/news/updates/lettering_for_bon_appetit_party_issue?image=5"><img alt="06-baparty-saturday-161-xxx" src="/uploads/700007/1412010419797/06-BAParty-saturday-161-xxx.jpg" style="left:860px;" width="161" /></a> <a href="/news/updates/lettering_for_bon_appetit_party_issue?image=6"><img alt="07-baparty-dropcap-179-xxx" src="/uploads/700007/1412010419849/07-BAParty-dropcap-179-xxx.jpg" style="left:1041px;" width="179" /></a> </div> CommercialType http://commercialtype.com/news/152 Mon, 29 Sep 2014 00:00:00 +0000 152 Custom typefaces, television: <h2>27 SEPTEMBER 2014 | <a href="/news/categories/custom typefaces">CUSTOM TYPEFACES</a> | <a href="/news/categories/television">TELEVISION</a></h2> <h3><a href="/news/updates/custom_version_of_druk_for_snl">Custom version of Druk for <i>Saturday Night Live</i></a></h3> <p>Pentagram designed new opening titles and bumpers for the 40th season of <i>Saturday Night Live</i>, which debuted on September 27. Berton Hasebe drew a custom version of Druk Condensed, slightly lighter and wider than the existing version.</p> <div id="news_thumbs"> <a href="/news/updates/custom_version_of_druk_for_snl?image=0"><img alt="01-snl_open-214-xxx" src="/uploads/700007/1411962783839/01-SNL_open-214-xxx.png" style="left:0px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=1"><img alt="02-snl_open-214-xxx" src="/uploads/700007/1411962784572/02-SNL_open-214-xxx.png" style="left:234px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=2"><img alt="03-snl_open-214-xxx" src="/uploads/700007/1411962784990/03-SNL_open-214-xxx.png" style="left:468px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=3"><img alt="04-snl_open-214-xxx" src="/uploads/700007/1411962785507/04-SNL_open-214-xxx.png" style="left:702px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=4"><img alt="05-snl_open-214-xxx" src="/uploads/700007/1411962785291/05-SNL_open-214-xxx.png" style="left:936px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=5"><img alt="06-snl_open-214-xxx" src="/uploads/700007/1411962786689/06-SNL_open-214-xxx.png" style="left:1170px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=6"><img alt="07-snl_open-214-xxx" src="/uploads/700007/1411962786898/07-SNL_open-214-xxx.png" style="left:1404px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=7"><img alt="08-snl_open-214-xxx" src="/uploads/700007/141196278788/08-SNL_open-214-xxx.png" style="left:1638px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=8"><img alt="09-snl_open-214-xxx" src="/uploads/700007/1411962787615/09-SNL_open-214-xxx.png" style="left:1872px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=9"><img alt="10-snl_open-214-xxx" src="/uploads/700007/1411962788626/10-SNL_open-214-xxx.png" style="left:2106px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=10"><img alt="11-snl_open-214-xxx" src="/uploads/700007/1411962788763/11-SNL_open-214-xxx.png" style="left:2340px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=11"><img alt="12-snl_open-214-xxx" src="/uploads/700007/141196278937/12-SNL_open-214-xxx.png" style="left:2574px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=12"><img alt="13-snl_open-214-xxx" src="/uploads/700007/1411962789847/13-SNL_open-214-xxx.png" style="left:2808px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=13"><img alt="14-snl_bumper-214-xxx" src="/uploads/700007/1411962790851/14-SNL_bumper-214-xxx.png" style="left:3042px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=14"><img alt="15-snl_bumper-214-xxx" src="/uploads/700007/1411962790179/15-SNL_bumper-214-xxx.png" style="left:3276px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=15"><img alt="17-snl_bumper-214-xxx" src="/uploads/700007/1411962791385/17-SNL_bumper-214-xxx.png" style="left:3510px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=16"><img alt="18-snl_bumper-214-xxx" src="/uploads/700007/141196279185/18-SNL_bumper-214-xxx.png" style="left:3744px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=17"><img alt="19-snl_bumper-214-xxx" src="/uploads/700007/1411962792356/19-SNL_bumper-214-xxx.png" style="left:3978px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=18"><img alt="20-snl_bumper-214-xxx" src="/uploads/700007/14119627922/20-SNL_bumper-214-xxx.png" style="left:4212px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=19"><img alt="21-snl_bumper-214-xxx" src="/uploads/700007/1411962793451/21-SNL_bumper-214-xxx.png" style="left:4446px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=20"><img alt="22-snl_bumper-214-xxx" src="/uploads/700007/141196279338/22-SNL_bumper-214-xxx.png" style="left:4680px;" width="214" /></a> <a href="/news/updates/custom_version_of_druk_for_snl?image=21"><img alt="23-snl_bumper-214-xxx" src="/uploads/700007/1411962794176/23-SNL_bumper-214-xxx.png" style="left:4914px;" width="214" /></a> </div> CommercialType http://commercialtype.com/news/149 Sat, 27 Sep 2014 00:00:00 +0000 149 Webfonts: <h2>10 SEPTEMBER 2014 | <a href="/news/categories/webfonts">WEBFONTS</a></h2> <h3><a href="/news/updates/introducing_the_webfonts_showcase">Introducing the Webfonts Showcase</a></h3> <p>We are delighted to announce our new Webfonts Showcase, a set of sixteen microsites, each showing a different family from our library and highlighting a different aspect of its personality. See it now at <a href="http://showcase.commercialtype.com"><strong> showcase.commercialtype.com</a></strong>.<br><br>Every piece of text on this collection of microsites is rendered with our webfonts: no PNGs or SVGs are used, except on the “about this family” pages. For those of you who want to peek under the hood, the about pages also include a short explanation of how each microsite works. We hope you find these microsites entertaining, exciting, inspiring… or at least fun to play with for a few minutes. <br><br>Wael Morcos conceptualized and designed the 16 microsites and the homepage. Branimir Vasilić and Sarah Guck at GrayBits in Philadelphia carried out development. Kat JK Lee wrote the text for some of the microsites.</p> <div id="news_thumbs"> <a href="/news/updates/introducing_the_webfonts_showcase?image=0"><img alt="Showcase-03-164-xxx" src="/uploads/700007/1410359319425/showcase-03-164-xxx.png" style="left:0px;" width="164" /></a> </div> CommercialType http://commercialtype.com/news/148 Wed, 10 Sep 2014 00:00:00 +0000 148