Commercial Type News http://commercialtype.com/news The latest news from Commercial Type, including new releases, custom type projects, press coverage, and appearances. &copy; 2014 CommercialType en-us Rails Appearances: <h2>19 APRIL 2014 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/christian_schwartz_speaking_in_moscow">Christian Schwartz speaking in Moscow</a></h3> <p>Christian Schwartz will be speaking at the Moscow offices of Yandex on April 19. For more information or to register for the event, <a href="http://tech.yandex.ru/events/meetings/schwartz-19apr/">please see the event page (in Russian)</a>.</p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/130 Sat, 19 Apr 2014 00:00:00 +0000 130 Publications, unreleased: <h2>14 APRIL 2014 | <a href="/news/categories/publications">PUBLICATIONS</a> | <a href="/news/categories/unreleased">UNRELEASED</a></h2> <h3><a href="/news/updates/chiswick_sans_high_in_document">Chiswick Sans High in <i>Document Journal</i> #4</a></h3> <p>Chiswick Sans High has had its first public use in issue number 4 of <a href="http://documentjournal.com"><i>Document Journal</a></i>, a New York-centric fashion, art, and culture magazine. started by Paul Barnes in 2009 when he was drawing Chiswick <b><a href="https://commercialtype.com/news/updates/wyatt_for_io_the_oprah_magazinei">(called Wyatt when it was used in the excellent 2010 redesign of <i>O, the Oprah Magazine</i> by Priest + Grace)</a></b> Whereas Brunel is a faithful depiction of British Modern typographic forms, Chiswick draws its inspiration from the lettering of the same time period: sign painting, architectural lettering, clock faces, and especially the lettering on gravestones. Though rarer than the seriffed forms, serifless letters were seen in this period as well, inspiring Paul to draw Chiswick Sans. This family has a very eccentric sort of elegance, dignified in the capitals and often downright odd in the lowercase.<br><br>The strange beauty of Chiswick Sans High works well for <i>Document</i> creative director Nick Vogelson's restrained display typography, as it has a strong enough character to hold its own at relatively small sizes, allowing him to make very bold use of negative space. <i><br><br>(Full disclosure: </i>Document<i> shares our office. This is how they end up using so many of our typefaces before they're finished and released.)</i></p> <div id="news_thumbs"> <a href="/news/updates/chiswick_sans_high_in_document?image=0"><img alt="00_doc4_coverlines-159-xxx" src="/uploads/600006/1397513125778/00_DOC4_Coverlines-159-xxx.jpg" style="left:0px;" width="159" /></a> <a href="/news/updates/chiswick_sans_high_in_document?image=1"><img alt="01_doc4_coverlines-90-xxx" src="/uploads/600006/1397513125609/01_DOC4_Coverlines-90-xxx.jpg" style="left:179px;" width="90" /></a> <a href="/news/updates/chiswick_sans_high_in_document?image=2"><img alt="02_doc4_defoe-180-xxx" src="/uploads/600006/1397513126765/02_DOC4_Defoe-180-xxx.jpg" style="left:289px;" width="180" /></a> <a href="/news/updates/chiswick_sans_high_in_document?image=3"><img alt="03_doc4_henrot-101-xxx" src="/uploads/600006/1397513127899/03_DOC4_Henrot-101-xxx.jpg" style="left:489px;" width="101" /></a> <a href="/news/updates/chiswick_sans_high_in_document?image=4"><img alt="04_doc4_grace-180-xxx" src="/uploads/600006/1397513127773/04_DOC4_Grace-180-xxx.jpg" style="left:610px;" width="180" /></a> <a href="/news/updates/chiswick_sans_high_in_document?image=5"><img alt="05_doc4_grace-closeup-169-xxx" src="/uploads/600006/1397513128653/05_DOC4_Grace-closeup-169-xxx.jpg" style="left:810px;" width="169" /></a> <a href="/news/updates/chiswick_sans_high_in_document?image=6"><img alt="06_doc4_marry-175-xxx" src="/uploads/600006/1397513128245/06_DOC4_Marry-175-xxx.jpg" style="left:999px;" width="175" /></a> <a href="/news/updates/chiswick_sans_high_in_document?image=7"><img alt="07_doc4_vanassche-1-180-xxx" src="/uploads/600006/1397513129702/07_DOC4_VanAssche-1-180-xxx.jpg" style="left:1194px;" width="180" /></a> <a href="/news/updates/chiswick_sans_high_in_document?image=8"><img alt="08_doc4_vanassche-2-180-xxx" src="/uploads/600006/1397513130768/08_DOC4_VanAssche-2-180-xxx.jpg" style="left:1394px;" width="180" /></a> <a href="/news/updates/chiswick_sans_high_in_document?image=9"><img alt="09_doc4_vanassche-2-closeup-180-xxx" src="/uploads/600006/1397513130537/09_DOC4_VanAssche-2-closeup-180-xxx.jpg" style="left:1594px;" width="180" /></a> <a href="/news/updates/chiswick_sans_high_in_document?image=10"><img alt="10_doc4_whiteonblack-198-xxx" src="/uploads/600006/1397513131539/10_DOC4_whiteonblack-198-xxx.jpg" style="left:1794px;" width="198" /></a> <a href="/news/updates/chiswick_sans_high_in_document?image=11"><img alt="11_doc4_lloyd-180-xxx" src="/uploads/600006/1397513398452/11_DOC4_Lloyd-180-xxx.jpg" style="left:2012px;" width="180" /></a> <a href="/news/updates/chiswick_sans_high_in_document?image=12"><img alt="12_doc4_saville-166-xxx" src="/uploads/600006/1397513124594/12_DOC4_Saville-166-xxx.jpg" style="left:2212px;" width="166" /></a> </div> CommercialType http://commercialtype.com/news/133 Mon, 14 Apr 2014 00:00:00 +0000 133 Releases: <h2>14 APRIL 2014 | <a href="/news/categories/releases">RELEASES</a></h2> <h3><a href="/news/updates/gabriel"><i>New release:</i> Gabriello by Paul Barnes</a></h3> <p>Inspired by brush lettering, <a href="http://commercialtype.com/typefaces/gabriello"><b>Gabriello</b></a> was commissioned by Puma. First used by their sponsored teams at the <b><a href="https://www.google.com/search?q=africa+cup+of+nations+2010+egypt&safe=off&rls=en&source=lnms&tbm=isch&">2010 Africa Cup of Nations, including winners Egypt</a></b>, and was later used at that year’s World Cup, held in South Africa. It was used on the kits worn by Algeria, Cameroon, Côte d’Ivoire, and Ghana, who reached the quarterfinal. Gabriello has also been used by Puma for various other sports, including athletics. <br><br> Paul Barnes originally designed Gabriello in a single Bold weight, balancing the need for a distinct aesthetic with the strict regulations on size and stroke thickness put forth by FIFA and UEFA, while also accommodating how the shirts are produced: numbers and names are ironed on, often right before game time, and the letters can’t overlap without melting and ruining the shirt. Far more organic than the typical straight-sided octic athletic letters, Gabriello is slanted on two axes, both horizontally and vertically, giving the energy of a script without causing and production issues with the shirts. Miguel Reyes added three lighter weights and one heavier weight, giving the family a casual flexibility for display uses far beyond apparel, in the vein of such classic display faces as Balloon and Dom Casual. <br><br> A handful of alternates give additional flexibility to the family: while the casual single-story <b>a</b> is authentic to the brush-lettered roots of the family, the double-story form gives a more readable option for smaller sizes; The <b>1</b> with a foot serif works better as a standalone form; and the flat alternate tilde form also evokes the brush lettering of Spanish-speaking countries and Estonia. <br><br> Gabriello adapts particularly well to multi-layered shadow and outline treatments. By copying the text, giving it a slight offset, and adding a round-cornered stroke, visually complex shaded treatments can be made very quickly, through just a few simple steps.</p> <div id="news_thumbs"> <a href="/news/updates/gabriel?image=0"><img alt="01-gabriel-ulc-150-xxx" src="/uploads/600006/1397274171366/01-Gabriel-Ulc-150-xxx.png" style="left:0px;" width="150" /></a> <a href="/news/updates/gabriel?image=1"><img alt="02-gabriel-uc-125-xxx" src="/uploads/600006/1397274171106/02-Gabriel-UC-125-xxx.png" style="left:170px;" width="125" /></a> <a href="/news/updates/gabriel?image=2"><img alt="03-salah-177-xxx" src="/uploads/600006/1397274172961/03-Salah-177-xxx.png" style="left:315px;" width="177" /></a> <a href="/news/updates/gabriel?image=3"><img alt="04-ghezzal-177-xxx" src="/uploads/600006/1397274172154/04-Ghezzal-177-xxx.png" style="left:512px;" width="177" /></a> <a href="/news/updates/gabriel?image=4"><img alt="05-drogba-177-xxx" src="/uploads/600006/1397274172650/05-Drogba-177-xxx.png" style="left:709px;" width="177" /></a> <a href="/news/updates/gabriel?image=5"><img alt="06-etoo-177-xxx" src="/uploads/600006/1397274173782/06-Etoo-177-xxx.png" style="left:906px;" width="177" /></a> <a href="/news/updates/gabriel?image=6"><img alt="07-elhadary-177-xxx" src="/uploads/600006/1397274173708/07-ElHadary-177-xxx.png" style="left:1103px;" width="177" /></a> <a href="/news/updates/gabriel?image=7"><img alt="08-gabriel-names-189-xxx" src="/uploads/600006/1397274173778/08-Gabriel-names-189-xxx.png" style="left:1300px;" width="189" /></a> <a href="/news/updates/gabriel?image=8"><img alt="09-gabriel-alts-129-xxx" src="/uploads/600006/1397274174996/09-Gabriel-alts-129-xxx.png" style="left:1509px;" width="129" /></a> <a href="/news/updates/gabriel?image=9"><img alt="10-gabriel-shadows-129-xxx" src="/uploads/600006/1397274615367/10-Gabriel-Shadows-129-xxx.png" style="left:1658px;" width="129" /></a> </div> CommercialType http://commercialtype.com/news/131 Mon, 14 Apr 2014 00:00:00 +0000 131 Custom typefaces, publications: <h2>13 APRIL 2014 | <a href="/news/categories/custom typefaces">CUSTOM TYPEFACES</a> | <a href="/news/categories/publications">PUBLICATIONS</a></h2> <h3><a href="/news/updates/graphik_titling_for_t">Graphik Titling for <i>T, the New York Times Style Magazine</i></a></h3> <p>A small addition to Graphik debuted in today's issue of <i>T, the New York Times Style Magazine</i>: Graphik Titling, based on the as-yet unreleased Condensed, X Condensed, and XX Condensed widths of Graphik, reworked and redrawn to have 3 widths of the letters with the same stroke weights, in 3 weight variations. This allows the designers to use Graphik for the same eccentric and distinctive mixed-width headline treatments that Schnyder was designed for.</p> <div id="news_thumbs"> <a href="/news/updates/graphik_titling_for_t?image=0"><img alt="01_graphiktitling-173-xxx" src="/uploads/600006/1397439520631/01_GraphikTitling-173-xxx.jpg" style="left:0px;" width="173" /></a> <a href="/news/updates/graphik_titling_for_t?image=1"><img alt="02_graphiktitling-ecu-160-xxx" src="/uploads/600006/1397439520166/02_GraphikTitling-ECU-160-xxx.jpg" style="left:193px;" width="160" /></a> <a href="/news/updates/graphik_titling_for_t?image=2"><img alt="03-graphiktitling-175-xxx" src="/uploads/600006/1397439521864/03-GraphikTitling-175-xxx.jpg" style="left:373px;" width="175" /></a> <a href="/news/updates/graphik_titling_for_t?image=3"><img alt="04-graphiktitling-mens-177-xxx" src="/uploads/600006/1397439521705/04-GraphikTitling-mens-177-xxx.jpg" style="left:568px;" width="177" /></a> </div> CommercialType http://commercialtype.com/news/132 Sun, 13 Apr 2014 00:00:00 +0000 132 Appearances: <h2>11 APRIL 2014 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/paul_barnes_speaking_in_australia_and_new_zealand">Paul Barnes speaking in Australia and New Zealand</a></h3> <p>Paul has confirmed 6 events in Australia and New Zealand in April: <i><br><br>Sunday 13 April<br></i> Melbourne<br> Los Barbudos <br> 95 Smith St, Fitzroy VIC 3065<br> Begins at 5pm, open to the public. For more information or to buy tickets, <a href="http://www.agda.com.au/events-awards/events/speaker-tours/paul-barnes-commercial-type-vic/"> visit the event page.</a> <i><br><br>Monday 14 April<br></i> Hobart<br> MONA cinema<br> MONA, 655 Main Road Berriedale<br> Begins at 6pm, open to the public. For more information or to buy tickets, <a href="http://www.agda.com.au/events-awards/events/speaker-tours/paul-barnes-commercial-type-tas/"> visit the event page.</a> <i><br><br>Tuesday 15 April<br></i> Canberra<br> University of Canberra Campus, Bruce<br>Building 1 , Room C42A (Teaching Commons)<br>Located directly above the Refectory<br> Begins at 4:30pm, open to the public. <i><br><br>Wednesday 16 April<br></i> C4 Cafe in Christchurch, joint "Designers Speak" event with the wonderful graphic designer and lettering artist Sarah Maxey. For more information or to buy tickets, <a href="http://www.dinz.org.nz/Events/2014/April/49240">visit the event page.</a> <i><br><br>Thursday 17 April<br></i> Auckland Art Gallery, joint "Designers Speak" event with Kris Sowersby, New Zealand's best-known type designer. For more information or to buy tickets, <a href="http://www.dinz.org.nz/Events/2014/April/49247">visit the event page.</a> <i><br><br>Friday 18 April<br></i> Workshop with Catherine Griffiths, location to be announced </p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/126 Fri, 11 Apr 2014 00:00:00 +0000 126 Appearances: <h2>27 MARCH 2014 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/christian_schwartz_speaking_at_nbsplettres_modernes_2nbsp">Christian Schwartz speaking at «&nbsp;Lettres Modernes 2&nbsp;»</a></h3> <p>Christian will be speaking at «&nbsp;Lettres Modernes 2: voir, regarder, lire&nbsp;» at l'École supérieure d’arts & médias de Caen/​Cherbourg in Caen, France. Organized by <a href="http://jblt.co">type designer and teacher Jean-Baptiste Levée</a>, this symposium will center around the idea of how the coexistence of traditional and new media influences typography and its perception. <a href="http://www.pointypo.com/lettres-modernes-2-voir-regarder-lire/">See this article on pointypo for more info (in French)</a></p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/129 Thu, 27 Mar 2014 00:00:00 +0000 129 Appearances: <h2>17 MARCH 2014 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/workshop_with_christian_schwartz_at_gestaltenspace_in_berlin">Workshop with Christian Schwartz at Gestalten Space in Berlin</a></h3> <p>Christian will be conducting a 2-day workshop entitled "Iteration in Type Design: Taking a Typeface from a Good Idea to a Great Tool" at Gestalten Space in Berlin. Participants will spend the two days working on their own typeface in progress, with the main focus on evaluating the typeface and learning how to take it to completion. Participants must bring a laptop with font editing software installed and at least one typeface in progress. For more information or to sign up, see <a href="http://news.gestalten.com/event/iteration-type-design-taking-typeface-good-idea-great-tool">Gestalten's site.</a></p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/124 Mon, 17 Mar 2014 00:00:00 +0000 124 Publications: <h2>21 FEBRUARY 2014 | <a href="/news/categories/publications">PUBLICATIONS</a></h2> <h3><a href="/news/updates/wallpaper_awards_2014"><i>Wallpaper*</i> Design Awards 2014</a></h3> <p>The latest issue of <a href="http://wallpaper.com"><i>Wallpaper*</i></a> uses <b><a href="http://commercialtype.com/typefaces/portrait">Portrait Inline</a></b> to great effect, along with the rest of the family and Darby Sans Text, for their 2014 Design Awards.</p> <div id="news_thumbs"> <a href="/news/updates/wallpaper_awards_2014?image=0"><img alt="01_wpawards_portrait-92-xxx" src="/uploads/600006/1393023391911/01_WPAwards_Portrait-92-xxx.jpg" style="left:0px;" width="92" /></a> <a href="/news/updates/wallpaper_awards_2014?image=1"><img alt="02_wpawards_portrait-120-xxx" src="/uploads/600006/1393023392892/02_WPAwards_Portrait-120-xxx.jpg" style="left:112px;" width="120" /></a> <a href="/news/updates/wallpaper_awards_2014?image=2"><img alt="03_wpawards_portrait-159-xxx" src="/uploads/600006/1393023393469/03_WPAwards_Portrait-159-xxx.jpg" style="left:252px;" width="159" /></a> <a href="/news/updates/wallpaper_awards_2014?image=3"><img alt="04_wpawards_portrait-154-xxx" src="/uploads/600006/1393023393350/04_WPAwards_Portrait-154-xxx.jpg" style="left:431px;" width="154" /></a> <a href="/news/updates/wallpaper_awards_2014?image=4"><img alt="05_wpawards_portrait-89-xxx" src="/uploads/600006/1393023393935/05_WPAwards_Portrait-89-xxx.jpg" style="left:605px;" width="89" /></a> </div> CommercialType http://commercialtype.com/news/128 Fri, 21 Feb 2014 00:00:00 +0000 128 Custom typefaces, publications: <h2>16 FEBRUARY 2014 | <a href="/news/categories/custom typefaces">CUSTOM TYPEFACES</a> | <a href="/news/categories/publications">PUBLICATIONS</a></h2> <h3><a href="/news/updates/schnyder_wide_for_t">Schnyder Wide for <i>T, the New York Times Style Magazine</i></a></h3> <p>A Wide width in three weights has been added to Schnyder for this year's issues of <i>T, the New York Times Style Magazine</i>. <a href="https://commercialtype.com/news/updates/schnyder_for_t">Schnyder was originally designed</a> by Berton Hasebe and Christian Schwartz for the 2013 top-to-bottom redesign by creative director Patrick Li and his team of Shawn Carney and Aurelie Pellissier. Schnyder Wide expands the family in some interesting new directions, on one hand bringing a new airiness to the headlines on the elegant, understated opening spreads for the cover story on Phoebe Philo; on the other hand, the Wide provides even more variety of widths for the designers to play with in the mixed-width headline treatments that are a signature of T's display typography, particularly with a handful of extremely wide alternate forms. </p> <div id="news_thumbs"> <a href="/news/updates/schnyder_wide_for_t?image=0"><img alt="01-tcover16feb2014-96-xxx" src="/uploads/600006/1392848060647/01-TCover16Feb2014-96-xxx.jpg" style="left:0px;" width="96" /></a> <a href="/news/updates/schnyder_wide_for_t?image=1"><img alt="02-t_well01-175-xxx" src="/uploads/600006/1392848055838/02-T_well01-175-xxx.jpg" style="left:116px;" width="175" /></a> <a href="/news/updates/schnyder_wide_for_t?image=2"><img alt="03-t_well02-177-xxx" src="/uploads/600006/1392848055199/03-T_well02-177-xxx.jpg" style="left:311px;" width="177" /></a> <a href="/news/updates/schnyder_wide_for_t?image=3"><img alt="04-t_well-closeup-90-xxx" src="/uploads/600006/1392848056395/04-T_well-closeup-90-xxx.jpg" style="left:508px;" width="90" /></a> <a href="/news/updates/schnyder_wide_for_t?image=4"><img alt="05-t_well-widealts-160-xxx" src="/uploads/600006/1392848057584/05-T_well-widealts-160-xxx.jpg" style="left:618px;" width="160" /></a> <a href="/news/updates/schnyder_wide_for_t?image=5"><img alt="06-t_well-wideealtscrop-166-xxx" src="/uploads/600006/1392848057262/06-T_well-wideealtscrop-166-xxx.jpg" style="left:798px;" width="166" /></a> <a href="/news/updates/schnyder_wide_for_t?image=6"><img alt="07-t_well-writers-97-xxx" src="/uploads/600006/1392848058922/07-T_well-writers-97-xxx.jpg" style="left:984px;" width="97" /></a> <a href="/news/updates/schnyder_wide_for_t?image=7"><img alt="08-t_fob-103-xxx" src="/uploads/600006/1392848059997/08-T_FOB-103-xxx.jpg" style="left:1101px;" width="103" /></a> <a href="/news/updates/schnyder_wide_for_t?image=8"><img alt="09-schyderwidthoverview-201-xxx" src="/uploads/600006/1392848059847/09-SchyderWidthOverview-201-xxx.png" style="left:1224px;" width="201" /></a> <a href="/news/updates/schnyder_wide_for_t?image=9"><img alt="10_schnyderwidedemi-179-xxx" src="/uploads/600006/1392848060394/10_SchnyderWideDemi-179-xxx.png" style="left:1445px;" width="179" /></a> <a href="/news/updates/schnyder_wide_for_t?image=10"><img alt="11_schnyderwide-tangier-178-xxx" src="/uploads/600006/1397438986252/11_SchnyderWide-Tangier-178-xxx.jpg" style="left:1644px;" width="178" /></a> </div> CommercialType http://commercialtype.com/news/127 Sun, 16 Feb 2014 00:00:00 +0000 127 Releases: <h2>13 FEBRUARY 2014 | <a href="/news/categories/releases">RELEASES</a></h2> <h3><a href="/news/updates/new_release_caponi"><i>New release:</i> Caponi by Paul Barnes and Christian Schwartz</a></h3> <p>Most contemporary revivals of Giambattista Bodoni’s work have focused almost entirely on the elegant, high-contrast types that he cut in the early part of the nineteenth century. <a href="http://commercialtype.com/typefaces/caponi""><b>Caponi</b></a> expands the notion of what Bodoni’s work was. Though it draws a bit on his later work, particularly in the uppercase, Paul Barnes and Christian Schwartz decided to take as their primary reference the typefaces Bodoni cut during the early years of his career, when he had been greatly influenced by the Rococco style of the French printer and punchcutter Pierre Simon Fournier. <br><br>The three families of Caponi each play a different role while complementing each other. Though lower contrast than other contemporary Bodoni revivals, <a href="http://commercialtype.com/typefaces/caponi/display""><b>Caponi Display</b></a> follows Bodoni’s approach to weight and contrast, with long, elegant ascenders and descenders. As a traditional Modern with relatively high contrast, it is ideal for headline typography. <a href="http://commercialtype.com/typefaces/caponi/slab"><b>Caponi Slab</b></a>, on the other hand, is low contrast throughout, culminating in a punchy Black weight, useful for large and expressive display typography, while also being robust enough for subheads, pull quotes, and other small display uses. Caponi Display and Caponi Slab are similar in their lightest weights, but as the two families get heavier, they depart quickly into two very different approaches to weight and contrast. <a href="http://commercialtype.com/typefaces/caponi/text"><b>Caponi Text</b></a> is a more faithful interpretation of Bodoni’s early work, capturing the unexpected warmth of his romans and the quirks of the italics, with mismatched terminal shapes and subtly varying serifs. <br><br>The late Amid Capeci, for whom the family is named, commissioned Caponi Slab for headline typography in 2010 for his twentieth anniversary revamp of <i><a href="http://ew.com">Entertainment Weekly</a></i>. A wide range of topics could potentially end up on the cover of the magazine from week to week, from high-minded Oscar movies, to controversial pop stars, to gleefully trashy reality television, so the family needed to cover many tones in one cohesive range of weights. The solution was a spectrum from elegance to exuberance: the lightest weights clearly show their origin in Bodoni’s work, but the family transforms into a boisterous slab serif as it gains weight. Caponi Slab’s short ascenders and descenders allow it to work with tight leading, and its low contrast helps it to hold its own on the page no matter the size. <br><br>Since the primary source for the project was Bodoni’s text types, the later addition of a text version was a logical idea. Caponi Text, drawn by Barnes and Schwartz with help from Commercial Type designer Miguel Reyes, is unusual among contemporary interpretations of Bodoni not just in focusing on Bodoni’s earliest work, but also in fully embracing the inconsistencies and unevenness of the source material. The warm, inviting tone of Caponi Text expands the notion of how a Bodoni can feel on the page. While preserving many eccentricities, it also make concessions to contemporary taste, so a more traditional lowercase <b>s</b>, with serifs rather than ball terminals, is available as an alternate. <br><br>In addition to the ongoing use of Caponi Slab in <i>Entertainment Weekly</i>, the Display and Slab can be seen together in <i><a href="http://bonappetit.com">Bon Appétit</i></a>, where the two different kinds of contrast complement one another in the dense, complex, and high-energy Starters section in the front of the book, and the family helps to anchor special packages like 2013's "50 Best Restaurants in the USA".</p> <div id="news_thumbs"> <a href="/news/updates/new_release_caponi?image=0"><img alt="01caponi_dispslab-210-xxx" src="/uploads/500005/1392318466373/01Caponi_DispSlab-210-xxx.png" style="left:0px;" width="210" /></a> <a href="/news/updates/new_release_caponi?image=1"><img alt="02caponi_compare-176-xxx" src="/uploads/500005/1392318466429/02Caponi_compare-176-xxx.png" style="left:230px;" width="176" /></a> <a href="/news/updates/new_release_caponi?image=2"><img alt="03caponi_text-small-168-xxx" src="/uploads/500005/1392318467142/03Caponi_Text-small-168-xxx.png" style="left:426px;" width="168" /></a> <a href="/news/updates/new_release_caponi?image=3"><img alt="04caponi_text-big-168-xxx" src="/uploads/500005/1392318467481/04Caponi_Text-big-168-xxx.png" style="left:614px;" width="168" /></a> <a href="/news/updates/new_release_caponi?image=4"><img alt="05caponi_ew-1-140-xxx" src="/uploads/500005/1392318468299/05caponi_EW-1-140-xxx.jpg" style="left:802px;" width="140" /></a> <a href="/news/updates/new_release_caponi?image=5"><img alt="06caponi_ew-2-136-xxx" src="/uploads/500005/1392318469482/06caponi_EW-2-136-xxx.jpg" style="left:962px;" width="136" /></a> <a href="/news/updates/new_release_caponi?image=6"><img alt="07caponi_ew-3-138-xxx" src="/uploads/500005/1392318469203/07caponi_EW-3-138-xxx.jpg" style="left:1118px;" width="138" /></a> <a href="/news/updates/new_release_caponi?image=7"><img alt="08caponi_ew-4-166-xxx" src="/uploads/500005/1392318470972/08caponi_EW-4-166-xxx.jpg" style="left:1276px;" width="166" /></a> <a href="/news/updates/new_release_caponi?image=8"><img alt="09caponi_ba-1-90-xxx" src="/uploads/500005/139231847063/09caponi_BA-1-90-xxx.jpg" style="left:1462px;" width="90" /></a> <a href="/news/updates/new_release_caponi?image=9"><img alt="10caponi_ba-2-181-xxx" src="/uploads/500005/1392318471226/10caponi_BA-2-181-xxx.jpg" style="left:1572px;" width="181" /></a> <a href="/news/updates/new_release_caponi?image=10"><img alt="11caponi_ba-3-168-xxx" src="/uploads/500005/139231847127/11caponi_BA-3-168-xxx.jpg" style="left:1773px;" width="168" /></a> <a href="/news/updates/new_release_caponi?image=11"><img alt="12caponi_ba-4-174-xxx" src="/uploads/600006/1392318472245/12caponi_BA-4-174-xxx.jpg" style="left:1961px;" width="174" /></a> <a href="/news/updates/new_release_caponi?image=12"><img alt="13caponi_ba-5-160-xxx" src="/uploads/600006/1392318473629/13caponi_BA-5-160-xxx.jpg" style="left:2155px;" width="160" /></a> <a href="/news/updates/new_release_caponi?image=13"><img alt="14caponi_ba-6-169-xxx" src="/uploads/600006/1392318473834/14caponi_BA-6-169-xxx.jpg" style="left:2335px;" width="169" /></a> <a href="/news/updates/new_release_caponi?image=14"><img alt="15caponi_ba-7-176-xxx" src="/uploads/600006/1392318474520/15caponi_BA-7-176-xxx.jpg" style="left:2524px;" width="176" /></a> </div> CommercialType http://commercialtype.com/news/125 Thu, 13 Feb 2014 00:00:00 +0000 125 Releases: <h2>31 JANUARY 2014 | <a href="/news/categories/releases">RELEASES</a></h2> <h3><a href="/news/updates/stag_lcg_and_stag_sans_lcg"><i>New release:</i> Cyrillic and Greek support added to Stag and Stag Sans</a></h3> <p><a href="http://commercialtype.com/typefaces/stag"><b>Stag</b> and <b>Stag Sans</b></a> were designed by Christian Schwartz in 2005 for the US edition of <i>Esquire</i>, and have been two of our most popular families ever since their release in 2007. We had many requests for Cyrillic and Greek support for these families, so starting in 2012 we began collaborations with Russian type designer Ilya Ruderman in Moscow (who also drew the delicate <a href="http://commercialtype.com/typefaces/austin">Austin Cyrillic</a>) and Greek type designer <a href="http://cannibal.gr">Panos Haratzopoulos</a> outside Athens. The result is Cyrillic and Greek versions of Stag and Stag Sans that seamlessly blend with Schwartz's original Latin version, while reflecting current conventions and contemporary approaches to type design in Greece and countries that use the Cyrillic alphabet, being neither overly Westernized or overly reverent to past traditions.<br><br>Stag and Stag Sans add to the small but growing number of typefaces with native support for Bulgarian and Serbian Cyrillic, which differ significantly from the Russian forms.<br><br>Stag and Stag Sans can be licensed with Greek or Cyrillic support, or in an "LCG" (for "Latin/Cyrillic/Greek") version that supports all three alphabets. All three versions include support for all languages covered by our standard Latin character set.</p> <div id="news_thumbs"> <a href="/news/updates/stag_lcg_and_stag_sans_lcg?image=0"><img alt="01b-staglcg-stagoverview-186-xxx" src="/uploads/500005/1391282305689/01b-StagLCG-StagOverview-186-xxx.png" style="left:0px;" width="186" /></a> <a href="/news/updates/stag_lcg_and_stag_sans_lcg?image=1"><img alt="02b-staglcg-stagsansoverview-186-xxx" src="/uploads/500005/1391282305361/02b-StagLCG-StagSansOverview-186-xxx.png" style="left:206px;" width="186" /></a> <a href="/news/updates/stag_lcg_and_stag_sans_lcg?image=2"><img alt="03-staglcg-stagcyr-186-xxx" src="/uploads/500005/1391282222611/03-StagLCG-StagCyr-186-xxx.png" style="left:412px;" width="186" /></a> <a href="/news/updates/stag_lcg_and_stag_sans_lcg?image=3"><img alt="04-staglcg-stagsanscyr-186-xxx" src="/uploads/500005/1391282223438/04-StagLCG-StagSansCyr-186-xxx.png" style="left:618px;" width="186" /></a> <a href="/news/updates/stag_lcg_and_stag_sans_lcg?image=4"><img alt="05-staglcg-staggrk-186-xxx" src="/uploads/500005/1391282223213/05-StagLCG-StagGrk-186-xxx.png" style="left:824px;" width="186" /></a> <a href="/news/updates/stag_lcg_and_stag_sans_lcg?image=5"><img alt="06-staglcg-stagsansgrk-186-xxx" src="/uploads/500005/1391282224139/06-StagLCG-StagSansGrk-186-xxx.png" style="left:1030px;" width="186" /></a> <a href="/news/updates/stag_lcg_and_stag_sans_lcg?image=6"><img alt="07-staglcg-rus-149-xxx" src="/uploads/500005/1391282224658/07-StagLCG-Rus-149-xxx.png" style="left:1236px;" width="149" /></a> <a href="/news/updates/stag_lcg_and_stag_sans_lcg?image=7"><img alt="08-staglcg-bgr-149-xxx" src="/uploads/500005/1391282225374/08-StagLCG-Bgr-149-xxx.png" style="left:1405px;" width="149" /></a> <a href="/news/updates/stag_lcg_and_stag_sans_lcg?image=8"><img alt="09-staglcg-srb-149-xxx" src="/uploads/500005/1391282225374/09-StagLCG-Srb-149-xxx.png" style="left:1574px;" width="149" /></a> <a href="/news/updates/stag_lcg_and_stag_sans_lcg?image=9"><img alt="10-stagsanslcg-rus-149-xxx" src="/uploads/500005/139128222635/10-StagSansLCG-Rus-149-xxx.png" style="left:1743px;" width="149" /></a> <a href="/news/updates/stag_lcg_and_stag_sans_lcg?image=10"><img alt="11-stagsanslcg-bgr-149-xxx" src="/uploads/500005/1391282226209/11-StagSansLCG-Bgr-149-xxx.png" style="left:1912px;" width="149" /></a> <a href="/news/updates/stag_lcg_and_stag_sans_lcg?image=11"><img alt="12-stagsanslcg-srb-149-xxx" src="/uploads/500005/139128222685/12-StagSansLCG-Srb-149-xxx.png" style="left:2081px;" width="149" /></a> </div> CommercialType http://commercialtype.com/news/123 Fri, 31 Jan 2014 00:00:00 +0000 123 Releases: <h2>07 JANUARY 2014 | <a href="/news/categories/releases">RELEASES</a></h2> <h3><a href="/news/updates/austin_text"><i>New release:</i> Austin Text by Paul Barnes</a></h3> <p><b><a href="http://commercialtype.com/typefaces/austin/austin">Austin</a></b> was first designed in 2003 for the elegant display typography of <i>Harpers & Queen</i>, a British fashion magazine, and Paul Barnes had long wanted to augment the delicate display face with a more rugged version for smaller sizes. He finally found the time, and the result is a highly personable text face firmly in the British tradition, hewing much closer to the original types—cut by Richard Austin in the late 18th century for the publisher John Bell­—that had originally inspired the Austin family.<br><br>Available in five weights, <a href="http://commercialtype.com/typefaces/austin/text"><b>Austin Text</a></b> matches the full range of the original Austin family, going all the way up to the heavy Fat weight. While Austin has a narrow proportion, Austin Text matches the comfortable proportions of Richard Austin’s original text faces, and the elegance of his italics. The italics have the same set of swashes as the display, and the romans feature small capitals. The family offers several different kinds of figures, with the three-quarter-height style favored by Austin and Bell as the default, along with traditional oldstyle and lining figures. Austin Text makes its first appearance in the brand new redesign of <a href="http://afar.com"><i>AFAR magazine</i></a> by new creative director Elizabeth Spiridakis Olson, launching in January 2014. <br><br><b><a href="https://commercialtype.com/typefaces/austin_latin">A special package of just the Latin families, not including Austin Cyrillic, is available from $575.</a></b></p> <div id="news_thumbs"> <a href="/news/updates/austin_text?image=0"><img alt="01_austintext-sizes-149-xxx" src="/uploads/500005/1389133645494/01_AustinText-sizes-149-xxx.png" style="left:0px;" width="149" /></a> <a href="/news/updates/austin_text?image=1"><img alt="02_austintext-weights-149-xxx" src="/uploads/500005/1389133646164/02_AustinText-weights-149-xxx.png" style="left:169px;" width="149" /></a> <a href="/news/updates/austin_text?image=2"><img alt="03_austintext-rm-149-xxx" src="/uploads/500005/1389282327714/03_AustinText-rm-149-xxx.png" style="left:338px;" width="149" /></a> <a href="/news/updates/austin_text?image=3"><img alt="04_austintext-it-149-xxx" src="/uploads/500005/1389282327603/04_AustinText-it-149-xxx.png" style="left:507px;" width="149" /></a> <a href="/news/updates/austin_text?image=4"><img alt="05_austintext-rm2-149-xxx" src="/uploads/500005/1389282328860/05_AustinText-rm2-149-xxx.png" style="left:676px;" width="149" /></a> <a href="/news/updates/austin_text?image=5"><img alt="06_austintext-it2-149-xxx" src="/uploads/500005/1389282328131/06_AustinText-it2-149-xxx.png" style="left:845px;" width="149" /></a> <a href="/news/updates/austin_text?image=6"><img alt="07_austintext-sm-149-xxx" src="/uploads/500005/1389282329163/07_AustinText-sm-149-xxx.png" style="left:1014px;" width="149" /></a> <a href="/news/updates/austin_text?image=7"><img alt="08_austintext-smit-149-xxx" src="/uploads/500005/1389282329319/08_AustinText-smit-149-xxx.png" style="left:1183px;" width="149" /></a> <a href="/news/updates/austin_text?image=8"><img alt="09_austintext-bd-149-xxx" src="/uploads/500005/1389282329880/09_AustinText-bd-149-xxx.png" style="left:1352px;" width="149" /></a> <a href="/news/updates/austin_text?image=9"><img alt="10_austintext-bdit-149-xxx" src="/uploads/500005/1389282330977/10_AustinText-bdit-149-xxx.png" style="left:1521px;" width="149" /></a> <a href="/news/updates/austin_text?image=10"><img alt="11_austintext-fat-149-xxx" src="/uploads/500005/1389282330714/11_AustinText-fat-149-xxx.png" style="left:1690px;" width="149" /></a> <a href="/news/updates/austin_text?image=11"><img alt="12_austintext-fatit-149-xxx" src="/uploads/500005/138928233079/12_AustinText-fatit-149-xxx.png" style="left:1859px;" width="149" /></a> <a href="/news/updates/austin_text?image=12"><img alt="13_austintext-figs-149-xxx" src="/uploads/500005/1389133651299/13_AustinText-figs-149-xxx.png" style="left:2028px;" width="149" /></a> </div> CommercialType http://commercialtype.com/news/122 Tue, 07 Jan 2014 00:00:00 +0000 122 Releases: <h2>17 DECEMBER 2013 | <a href="/news/categories/releases">RELEASES</a></h2> <h3><a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes"><i>New release:</i> Duplicate by Christian Schwartz and Miguel Reyes</a></h3> <p>Previously known as Zizou, and before that Clouseau, <strong><a href="http://commercialtype.com/typefaces/duplicate/">Duplicate</strong></a> is a new family from Commercial Type that began as an experiment. Drawing on imperfect memories, rather than directly referencing existing work, has long been a method for reinvigorating the creative process in many different fields, from music, to art, to type design. Duplicate began in 2007 as an experiment by Christian Schwartz to see what he would get if he drew Roger Excoffon’s iconic 20th century sans serif Antique Olive, a typeface Schwartz has long loved and admired, from memory. Schwartz was inspired to try this exercise after reading many interviews with musicians who described stumbling upon their signature sound via the same process. The result was a new sans serif with a personality all its own, which has since grown into three related families: <strong><a href="http://commercialtype.com/typefaces/duplicate/sans">Duplicate Sans</strong></a>, <strong><a href="http://commercialtype.com/typefaces/duplicate/slab">Duplicate Slab</strong></a>, and <strong><a href="http://commercialtype.com/typefaces/duplicate/ionic">Duplicate Ionic</strong></a>. <br><br> The design process began with the sans. Roger Excoffon’s Antique Olive was a departure from the grotesks popular in Europe in the middle of the 20th century. Its strong personality is tied to a particular time and place, making it difficult to use in a contemporary context without being evocative of France in the 1960s and 70s. Christian Schwartz wanted to see what the result would be if he tried to draw Antique Olive from memory. He was curious whether this could be a route to something that felt contemporary and original, or if the result would be a pale imitation of the original. Most of all, he wanted to see what he would remember correctly and what he would get wrong, and what relationship this would create between the inspiration and the result. Though it shares some structural similarities with Antique Olive – and a handful of details, like the shape of the lowercase <i>a</i> – <strong><a href="http://commercialtype.com/typefaces/duplicate/sans">Duplicate Sans</strong></a> is not a revival, but rather a thoroughly contemporary homage to Excoffon. <br><br> Duplicate Sans was finally finished at the request of Florian Bachleda for his 2011 redesign of <strong><a href="http://fastcompany.com"><i>Fast Company</i></strong></a>. Bachleda wanted a slab companion for the sans, so Schwartz decided to take the most direct route: he simply added slabs to the sans in a straightforward manner, doing as little as he could to alter the proportions, contrast, and stylistic details in the process. Duplicate Slab therefore is the perfect match for Duplicate Sans. Because its skeleton is neither geometric nor traditionally humanist, <strong><a href="http://commercialtype.com/typefaces/duplicate/slab">Duplicate Slab</strong></a> has an atypical texture for a slab serif: warm and informal. It manages to be quite pretty in its lightest weights, and both friendly and forceful in its heaviest weight. <br><br> The bracketed serifs and ball terminals that define the Clarendon genre (also known as Ionic) first emerged in Britain in the middle of the 19th century. While combining these structures with a contemporary interpretation of a mid-20th century French sans serif seems counterintutive, the final result feels suprisingly natural. The romans are a collaboration between Christian Schwartz and Miguel Reyes, but the italic is fully Reyes’s creation, departing from the sloped romans seen in Duplicate Sans and Slab with a true cursive. <strong><a href="http://markporter.com">Mark Porter</strong></a> and <strong><a href="http://www.estersonassociates.co.uk">Simon Esterson</strong></a> were the first to use the family, in their 2013 redesign of the <i>Neue Züricher Zeitung am Sonntag</i>. Because the Ionic genre has long been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts. <br><br> The three families in the Duplicate collection have the same coordinated set of six weights, allowing them to be used together seamlessly. In addition to <i>Fast Company</i> magazine and its family of websites, and the <i>Neue Züricher Zeitung am Sonntag</i>, Duplicate played a major role in <strong><a href="http://robbricedesign.com">Robb Rice</strong></a>'s 2013 redesign of <i>Variety</i> and <i>Nya Wermlands-Tidningen</i>, a regional newspaper in Sweden redesigned by <strong><a href="http://perbostrom.se">Per Boström</strong></a>. Duplicate Slab is also paired with Lyon Text for <strong><a href="http://treelines.com">Treelines</strong></a>, a site for presenting the personal narratives embedded in family trees. <br><br> Aside from the Thin and Black, which are designed only for use at larger display sizes, all three families are intended for both text and headline use. Duplicate is suitable for a wide range of applications, from newspapers and magazines through to graphic design and corporate design. A number of alternates, such as a single-story <i>a</i> and double-story <i>g</i>, allow designers to fine tune the personality of the typeface on the page. All 36 styles have been manually hinted for use on the web, and can be licensed for use in mobile apps as well.</p> <div id="news_thumbs"> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=0"><img alt="01dupintro-177-xxx" src="/uploads/500005/1387318042299/01DupIntro-177-xxx.png" style="left:0px;" width="177" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=1"><img alt="02dupintro-177-xxx" src="/uploads/500005/1387318041868/02DupIntro-177-xxx.png" style="left:197px;" width="177" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=2"><img alt="03dupintro-177-xxx" src="/uploads/500005/1387318041588/03DupIntro-177-xxx.png" style="left:394px;" width="177" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=3"><img alt="04fc_ecu-3-179-xxx" src="/uploads/500005/1387318878222/04FC_ECU-3-179-xxx.jpg" style="left:591px;" width="179" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=4"><img alt="05fc_ecu-1-192-xxx" src="/uploads/500005/1387318879379/05FC_ECU-1-192-xxx.jpg" style="left:790px;" width="192" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=5"><img alt="06fastcodesign_com-136-xxx" src="/uploads/500005/1387318880903/06fastcodesign_com-136-xxx.png" style="left:1002px;" width="136" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=6"><img alt="07variety_oct13-lg-93-xxx" src="/uploads/500005/1387318880733/07Variety_Oct13-lg-93-xxx.jpg" style="left:1158px;" width="93" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=7"><img alt="08variety_july13-lg-91-xxx" src="/uploads/500005/1387318880292/08Variety_July13-lg-91-xxx.jpg" style="left:1271px;" width="91" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=8"><img alt="09a01-82-xxx" src="/uploads/500005/1387318881818/09A01-82-xxx.png" style="left:1382px;" width="82" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=9"><img alt="10nzz_ecu-1-170-xxx" src="/uploads/500005/1387318881608/10NZZ_ECU-1-170-xxx.jpg" style="left:1484px;" width="170" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=10"><img alt="11h012-88-xxx" src="/uploads/500005/138731888298/11H012-88-xxx.png" style="left:1674px;" width="88" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=11"><img alt="12m48-49-163-xxx" src="/uploads/500005/1387318882530/12M48-49-163-xxx.png" style="left:1782px;" width="163" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=12"><img alt="12nzz_ecu-2-154-xxx" src="/uploads/500005/1387318883521/12NZZ_ECU-2-154-xxx.jpg" style="left:1965px;" width="154" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=13"><img alt="13treelines_com-162-xxx" src="/uploads/500005/1387318883570/13treelines_com-162-xxx.png" style="left:2139px;" width="162" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=14"><img alt="14dupsansrom-117-xxx" src="/uploads/500005/1387318884427/14DupSansRom-117-xxx.png" style="left:2321px;" width="117" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=15"><img alt="15dupsansita-117-xxx" src="/uploads/500005/1387318884281/15DupSansIta-117-xxx.png" style="left:2458px;" width="117" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=16"><img alt="16dupslabrom-117-xxx" src="/uploads/500005/1387318884520/16DupSlabRom-117-xxx.png" style="left:2595px;" width="117" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=17"><img alt="17dupslabita-117-xxx" src="/uploads/500005/1387318885994/17DupSlabIta-117-xxx.png" style="left:2732px;" width="117" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=18"><img alt="18dupionrom-117-xxx" src="/uploads/500005/1387318885820/18DupIonRom-117-xxx.png" style="left:2869px;" width="117" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=19"><img alt="19dupionita-117-xxx" src="/uploads/500005/138731888653/19DupIonIta-117-xxx.png" style="left:3006px;" width="117" /></a> <a href="/news/updates/duplicate_by_christian_schwartz_and_miguel_reyes?image=20"><img alt="20dupalts-164-xxx" src="/uploads/500005/1387318886905/20DupAlts-164-xxx.png" style="left:3143px;" width="164" /></a> </div> CommercialType http://commercialtype.com/news/121 Tue, 17 Dec 2013 00:00:00 +0000 121 Appearances: <h2>22 NOVEMBER 2013 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/paul_christian_at_bits_mmxiii_in_bangkok">Paul & Christian at BITS MMXIII in Bangkok</a></h3> <p>Paul will be speaking at this year's Bangkok International Typographic Symposium (BITS), Asia's largest conference on typography. Additionally, both Paul and Christian will be running workshops. More information is available <a href="http://www.bitsmm.org">at the BITS website</a>, but <a href="https://www.facebook.com/bitsmmx">the conference's Facebook page</a> seems to be updated more often.</p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/113 Fri, 22 Nov 2013 00:00:00 +0000 113 Custom typefaces, publications: <h2>15 NOVEMBER 2013 | <a href="/news/categories/custom typefaces">CUSTOM TYPEFACES</a> | <a href="/news/categories/publications">PUBLICATIONS</a></h2> <h3><a href="/news/updates/neue_haas_grotesk_agate">Neue Haas Grotesk Agate for <i>Bloomberg Businessweek</i></a></h3> <p>This year, <a href="http://businessweek.com"><i>Bloomberg Businessweek</i>’s</a> year-end double issue is focused on the year ahead, but it also includes a number of very dense spreads of hard data from various industries, showing a snapshot of the current state of many companies. In order to pack as much information as possible into the limited space available, creative director Richard Turley commissioned an Agate version of Neue Haas Grotesk in a number of duplexed weights.<br><br>Compared to the existing Text version, which is drawn for use around 8pt to 12pt, the Agate, drawn for use at 4pt to 6pt, has a larger x-height, smaller cap height, looser spacing overall, and ink traps to counteract the effects of ink on paper, which has a dramatic effect on text set at such small sizes. In order to deal with long company names and very large numbers, condensed versions were created for some parts of the character set.<br><br>As one final touch, we made an agate version of the logotype, ensuring it would remain readable on the spine at 2.76mm tall, or about 5pt.<br><br>Update 13 December: It took less than a month for this Agate to be used as the primary display face on a cover. The aesthetic of inktraps never really goes out of style…<br><br><i>Neue Haas Grotesk Agate will not be available for licensing.</i></p> <div id="news_thumbs"> <a href="/news/updates/neue_haas_grotesk_agate?image=0"><img alt="01_yearaheadcover-90-xxx" src="/uploads/500005/1384530616863/01_YearAheadCover-90-xxx.png" style="left:0px;" width="90" /></a> <a href="/news/updates/neue_haas_grotesk_agate?image=1"><img alt="02_182spread-180-xxx" src="/uploads/500005/1384530616741/02_182spread-180-xxx.png" style="left:110px;" width="180" /></a> <a href="/news/updates/neue_haas_grotesk_agate?image=2"><img alt="03_178-cu01-201-xxx" src="/uploads/500005/138453061729/03_178-CU01-201-xxx.png" style="left:310px;" width="201" /></a> <a href="/news/updates/neue_haas_grotesk_agate?image=3"><img alt="04_178-cu02-201-xxx" src="/uploads/500005/138453061796/04_178-CU02-201-xxx.png" style="left:531px;" width="201" /></a> <a href="/news/updates/neue_haas_grotesk_agate?image=4"><img alt="05_178-cu03-201-xxx" src="/uploads/500005/1384530618245/05_178-CU03-201-xxx.png" style="left:752px;" width="201" /></a> <a href="/news/updates/neue_haas_grotesk_agate?image=5"><img alt="05_a_printed-171-xxx" src="/uploads/500005/1384538005466/05_a_printed-171-xxx.jpg" style="left:973px;" width="171" /></a> <a href="/news/updates/neue_haas_grotesk_agate?image=6"><img alt="06_agatetitle-201-xxx" src="/uploads/500005/1384530618805/06_Agatetitle-201-xxx.png" style="left:1164px;" width="201" /></a> <a href="/news/updates/neue_haas_grotesk_agate?image=7"><img alt="07_agatecompare-201-xxx" src="/uploads/500005/1384530618238/07_AgateCompare-201-xxx.png" style="left:1385px;" width="201" /></a> <a href="/news/updates/neue_haas_grotesk_agate?image=8"><img alt="08_agatecondfigs-201-xxx" src="/uploads/500005/138453061979/08_AgateCondFigs-201-xxx.png" style="left:1606px;" width="201" /></a> <a href="/news/updates/neue_haas_grotesk_agate?image=9"><img alt="09_agatelogo-156-xxx" src="/uploads/500005/1384530619766/09_AgateLogo-156-xxx.png" style="left:1827px;" width="156" /></a> <a href="/news/updates/neue_haas_grotesk_agate?image=10"><img alt="10_dec13cover-90-xxx" src="/uploads/500005/138695482765/10_dec13Cover-90-xxx.jpg" style="left:2003px;" width="90" /></a> </div> CommercialType http://commercialtype.com/news/120 Fri, 15 Nov 2013 00:00:00 +0000 120 Appearances: <h2>04 NOVEMBER 2013 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/christian_schwartz_at_redesigncreative_directors">Christian Schwartz at RE:DESIGN/Creative Directors</a></h3> <p>Christian Schwartz will present a session called "Making Something out of Something: Typefaces, History, Culture and Meaning" at the third annual RE:DESIGN symposium for creative directors. More information is available <a href="http://www.redesignconference.com/conferences/cd/">at the symposium website</a>.</p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/118 Mon, 04 Nov 2013 00:00:00 +0000 118 Appearances: <h2>02 NOVEMBER 2013 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/christian_schwartz_at_ampersand_2013_in_nyc">Christian Schwartz at Ampersand 2013 in NYC</a></h3> <p>Christian Schwartz will reprise his appearance from the Ampersand Conference earlier this summer in Brighton, joining some of the same speakers and some new faces at the first Ampersand to take place in New York City. Christian will close the day with a talk called "Webfonts are just fonts". For more information, <a href="http://nyc.ampersandconf.com">please see the conference site.</a></p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/114 Sat, 02 Nov 2013 00:00:00 +0000 114 Appearances: <h2>16 OCTOBER 2013 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/paul_speaking_at_the_modern_magazine">Paul speaking at The Modern Magazine</a></h3> <p>Paul will be speaking at "The Modern Magazine", a one-day conference put together by Jeremy Leslie of popular magazine design blog magCulture to celebrate the release of his latest book. More information and ticket bookings can be found at <a href="http://magculture.com/blog/?page_id=18818">the conference webpage.</a></p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/115 Wed, 16 Oct 2013 00:00:00 +0000 115 Appearances: <h2>12 OCTOBER 2013 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/type_critique_at_atypi_in_amsterdam">Type critique at ATypI in Amsterdam</a></h3> <p>Together with Gerry Leonidas and Erik van Blokland, Christian Schwartz will be critiquing typefaces during an informal lunchtime session on the Saturday of the ATypI conference in Amsterdam. More information and signup will be available at the conference. Christian will also help to present the Prix Charles Peignot to this year's recipient during a ceremony on Sunday afternoon.</p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/116 Sat, 12 Oct 2013 00:00:00 +0000 116 Appearances: <h2>10 OCTOBER 2013 | <a href="/news/categories/appearances">APPEARANCES</a></h2> <h3><a href="/news/updates/paul_barnes_at_snds_in_copenhagen">Paul Barnes at SNDS in Copenhagen</a></h3> <p>Paul will be speaking on our experiences designing type for the news at the "Wrong" seminar, hosted by the Society of News Design Scandinavia. See more at <a href="http://snds.org">the conference website.</a></p> <div id="news_thumbs"></div> CommercialType http://commercialtype.com/news/112 Thu, 10 Oct 2013 00:00:00 +0000 112 Custom typefaces, publications: <h2>15 SEPTEMBER 2013 | <a href="/news/categories/custom typefaces">CUSTOM TYPEFACES</a> | <a href="/news/categories/publications">PUBLICATIONS</a></h2> <h3><a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag">Duplicate Ionic for <i>NZZ am Sonntag</i></a></h3> <p>Once known as Zizou, and before that Clouseau, Christian Schwartz's <strong>Duplicate</strong> has expanded from a small family of sans serifs into a 3-family collection. In addition to the Sans and Slab first seen in Florian Bachleda's 2011 redesign of <i>Fast Company</i>, the family has been rounded out with the Clarendon-inspired <strong>Duplicate Ionic</strong>, designed by Miguel Reyes (directed by Schwartz) for a redesign of Zurich's <i><a href="http://nzz.ch">Neue Zürcher Zeitung am Sonntag</a></i> recently completed by <a href="http://markporter.com">Mark Porter</a> and <a href="http://estersonassociates.com">Simon Esterson</a>. The complete collection is being readied for released before the end of 2013.</p> <div id="news_thumbs"> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=0"><img alt="A01-82-xxx" src="/uploads/500005/1384395148903/A01-82-xxx.png" style="left:0px;" width="82" /></a> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=1"><img alt="B01-cu-152-xxx" src="/uploads/500005/138439514990/B01-CU-152-xxx.png" style="left:102px;" width="152" /></a> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=2"><img alt="C73-82-xxx" src="/uploads/500005/1384395149784/C73-82-xxx.png" style="left:274px;" width="82" /></a> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=3"><img alt="D04-11-1-176-xxx" src="/uploads/500005/1384395150110/D04-11-1-176-xxx.png" style="left:376px;" width="176" /></a> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=4"><img alt="E04-11-2-wide-176-xxx" src="/uploads/500005/1384395150242/E04-11-2-wide-176-xxx.png" style="left:572px;" width="176" /></a> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=5"><img alt="F04-11-3-167-xxx" src="/uploads/500005/1384395151437/F04-11-3-167-xxx.png" style="left:768px;" width="167" /></a> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=6"><img alt="G04-11-4-130-xxx" src="/uploads/500005/1384395151544/G04-11-4-130-xxx.png" style="left:955px;" width="130" /></a> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=7"><img alt="H012-88-xxx" src="/uploads/500005/1384395152609/H012-88-xxx.png" style="left:1105px;" width="88" /></a> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=8"><img alt="I012-cu-169-xxx" src="/uploads/500005/1384395152165/I012-CU-169-xxx.png" style="left:1213px;" width="169" /></a> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=9"><img alt="J14-17-1-176-xxx" src="/uploads/500005/1384395152368/J14-17-1-176-xxx.png" style="left:1402px;" width="176" /></a> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=10"><img alt="K26-27-159-xxx" src="/uploads/500005/1384395153643/K26-27-159-xxx.png" style="left:1598px;" width="159" /></a> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=11"><img alt="L45-82-xxx" src="/uploads/500005/1384395153373/L45-82-xxx.png" style="left:1777px;" width="82" /></a> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=12"><img alt="M48-49-163-xxx" src="/uploads/500005/1384395154925/M48-49-163-xxx.png" style="left:1879px;" width="163" /></a> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=13"><img alt="Nduplicatecollection-112-xxx" src="/uploads/500005/1384395155695/NDuplicateCollection-112-xxx.png" style="left:2062px;" width="112" /></a> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=14"><img alt="Oduplicateionic_fam-156-xxx" src="/uploads/500005/1384395147569/ODuplicateIonic_fam-156-xxx.png" style="left:2194px;" width="156" /></a> <a href="/news/updates/duplicate_ionic_for_nzz_am_sonntag?image=15"><img alt="Pduplicateionic_fam-156-xxx" src="/uploads/500005/1384395148144/PDuplicateIonic_fam-156-xxx.png" style="left:2370px;" width="156" /></a> </div> CommercialType http://commercialtype.com/news/117 Sun, 15 Sep 2013 00:00:00 +0000 117 Releases: <h2>10 SEPTEMBER 2013 | <a href="/news/categories/releases">RELEASES</a></h2> <h3><a href="/news/updates/portrait"><i>New release:</i> Portrait by Berton Hasebe</a></h3> <p>We are very happy to announce the release of <strong><a href="http/commercialtype.com/typefaces/portrait">Portrait</a></strong>, a major new serif collection in 4 families totaling 29 styles, available today for desktop, web, and mobile app licensing. Portrait is Berton Hasebe’s sharply minimalist depiction of French Renaissance types. The marriage of classical proportions with triangular Latin serifs is an inspired combination, and a fresh way to see these nearly 500-year-old forms. A number of families in the Commercial Type library display a particular fascination with the French Renaissance forms of Granjon, Garamont, and their contemporaries. Of the varied interpretations in the library, the Portrait collection of four families is the most unabashedly new, aggressive in its simplicity but nuanced in its details, and covering a wide range of tones from the sober beauty of the display face, to the warm sparkle of Portrait Text, to the exuberance of the Condensed and Inline.<br><br> <strong><a href="http/commercialtype.com/typefaces/portrait/display">Portrait</a></strong> started out as an experiment in drawing a display typeface that managed to be both beautiful and brutal, and both classical and minimalist. While its lighter weights are quietly elegant, the heavier weights show the influence of chiseled woodcut forms. Portrait draws its primary inspiration from the Two-line Double Pica Roman (equivalent to 32pt in contemporary sizes) cut by French punchcutter Maître Constantin around 1530 for the printer Robert Estienne. Portrait replaces the delicately modeled serif treatments of Constantin’s original with simple, triangular Latin serifs, reimagining the Renaissance forms in a contemporary light. <br><br> <strong><a href="http/commercialtype.com/typefaces/portrait/text>">Portrait Text</a></strong> resembles the text types attributed by the printing historian Hendrik Vervliet to Constantin and used by the printer Estienne in the 1530s, which had a lighter and more open texture than the text types that preceded them, and marking the move to more elegant type that culminated in the work of Claude Garamont. The stripped-back simplicity of the Latin serifs gives Portrait a cleaner and sharper tone than a typical Renaissance oldstyle-influenced text face, bringing an active personality to text. <br><br> Triangular serifs and extremely condensed proportions go hand in hand, as evidenced by the compressed Latins that were a mainstay of newspaper display typography through the 20th century. This idea inspired the emphatically and exaggeratedly narrow <strong><a href="http/commercialtype.com/typefaces/portrait/condensed">Portrait Condensed</a></strong>. This family’s energetic rhythm also takes cues from French design in the 1950s, particularly Vendôme Condensed, designed by Roger Excoffon and his collaborator François Ganeau, which, like Portrait, had also used Renaissance French typefaces as an starting point. <br><br> <strong><a href="http/commercialtype.com/typefaces/portrait/inline">Portrait Inline</a></strong> is a beautiful, decorative addition to the collection, building on the inscriptional proportions of the capitals. In the seriffed Regular, sharply tapering outer strokes play against monoline inner strokes, with all extraneous detailing stripped away. The Inline Sans exposes the geometric underpinnings of the proportions, while adding a dimensional element through its overlapping strokes. <br><br> Portrait was used in a handful of publications during its three year design process, including the well-regarded New York-based independent fashion and arts magazine <strong><a href="http://documentjournal.com"><i>Document Journal</i></a></strong>; <i><strong><a href="http://taeyoonchoi.com/antimanifesto/">Anti-Manifesto</a></strong></i> a book designed by <strong><a href= "http://hyokwon.org">Hyo Kwon</a></strong> for the artist Taeyoon Choi; and this year’s redesign of the print and web editions of iconic British interiors and style magazine <i><strong><a href="http://wallpaper.com">Wallpaper*</a></strong></i>.</p> <div id="news_thumbs"> <a href="/news/updates/portrait?image=0"><img alt="00-intro-147-xxx" src="/uploads/500005/1378759187486/00-Intro-147-xxx.png" style="left:0px;" width="147" /></a> <a href="/news/updates/portrait?image=1"><img alt="01-disprom-143-xxx" src="/uploads/500005/1378759189681/01-DispRom-143-xxx.png" style="left:167px;" width="143" /></a> <a href="/news/updates/portrait?image=2"><img alt="02-dispital-143-xxx" src="/uploads/500005/1378759189306/02-DispItal-143-xxx.png" style="left:330px;" width="143" /></a> <a href="/news/updates/portrait?image=3"><img alt="03-text-165-xxx" src="/uploads/500005/1378759190604/03-Text-165-xxx.png" style="left:493px;" width="165" /></a> <a href="/news/updates/portrait?image=4"><img alt="04-cond-165-xxx" src="/uploads/500005/1378759190259/04-Cond-165-xxx.png" style="left:678px;" width="165" /></a> <a href="/news/updates/portrait?image=5"><img alt="05-inline-171-xxx" src="/uploads/500005/137875919186/05-Inline-171-xxx.png" style="left:863px;" width="171" /></a> <a href="/news/updates/portrait?image=6"><img alt="06-documentsticker-cond-154-xxx" src="/uploads/500005/1378759192853/06-DocumentSticker-Cond-154-xxx.jpg" style="left:1054px;" width="154" /></a> <a href="/news/updates/portrait?image=7"><img alt="07-document-textspead-163-xxx" src="/uploads/500005/1378759192315/07-Document-TextSpead-163-xxx.jpg" style="left:1228px;" width="163" /></a> <a href="/news/updates/portrait?image=8"><img alt="08-document-light-176-xxx" src="/uploads/500005/137875919387/08-Document-Light-176-xxx.jpg" style="left:1411px;" width="176" /></a> <a href="/news/updates/portrait?image=9"><img alt="09-antimanifesto-stack-160-xxx" src="/uploads/500005/137875919432/09-AntiManifesto-stack-160-xxx.jpg" style="left:1607px;" width="160" /></a> <a href="/news/updates/portrait?image=10"><img alt="10-antimanifesto-spread-165-xxx" src="/uploads/500005/1378759194335/10-AntiManifesto-spread-165-xxx.jpg" style="left:1787px;" width="165" /></a> <a href="/news/updates/portrait?image=11"><img alt="11-wp-sansinline-87-xxx" src="/uploads/500005/1378759195176/11-WP-SansInline-87-xxx.jpg" style="left:1972px;" width="87" /></a> <a href="/news/updates/portrait?image=12"><img alt="12-wp-heavy-163-xxx" src="/uploads/500005/1378759196875/12-WP-Heavy-163-xxx.jpg" style="left:2079px;" width="163" /></a> <a href="/news/updates/portrait?image=13"><img alt="13-wp-cond-163-xxx" src="/uploads/500005/1378759197433/13-WP-Cond-163-xxx.jpg" style="left:2262px;" width="163" /></a> </div> CommercialType http://commercialtype.com/news/111 Tue, 10 Sep 2013 00:00:00 +0000 111 Publications, logotypes: <h2>05 SEPTEMBER 2013 | <a href="/news/categories/publications">PUBLICATIONS</a> | <a href="/news/categories/logotypes">LOGOTYPES</a></h2> <h3><a href="/news/updates/new_logotype_for_vanity_fair">New logotype for <i>Vanity Fair</i></a></h3> <p>The new logotype drawn by Christian Schwartz for <i>Vanity Fair</i> debuted on the 100th anniversary issue, dated October 2013. The look of the logotype refers both to the magazine's historical logotypes and to the new VF Didot typeface designed by Schwartz and Barnes for the magazine earlier in the year.</p> <div id="news_thumbs"> <a href="/news/updates/new_logotype_for_vanity_fair?image=0"><img alt="Kate-upton-cover-84-xxx" src="/uploads/500005/1378220239901/kate-upton-cover-84-xxx.jpg" style="left:0px;" width="84" /></a> <a href="/news/updates/new_logotype_for_vanity_fair?image=1"><img alt="Vf-logotype-01-167-xxx" src="/uploads/500005/1378326283460/VF-logotype-01-167-xxx.png" style="left:104px;" width="167" /></a> </div> CommercialType http://commercialtype.com/news/110 Thu, 05 Sep 2013 00:00:00 +0000 110 Custom typefaces, publications: <h2>08 AUGUST 2013 | <a href="/news/categories/custom typefaces">CUSTOM TYPEFACES</a> | <a href="/news/categories/publications">PUBLICATIONS</a></h2> <h3><a href="/news/updates/darby_for_wallpaper">Darby for <i>Wallpaper*</i></a></h3> <p>Iconic British style and interiors magazine <a href="http://wallpaper.com"><i>Wallpaper*</a></i> has debuted a complete redesign with their September 2013 issue. The redesign was carried out by new creative director Sarah Douglas and art director Lee Belcher. <a href="http://commercialtype.com/typefaces/graphik">Graphik</a> has been retired after nearly six years as the primary display face, along with Lexicon and Big Caslon. The new type palette features <b>Darby</b>, a brand new typeface by Paul Barnes completed for this redesign, plus Berton Hasebe's <b>Portrait</b>, which is now complete and will be released in September. <br><br> Darby is a humanist sans serif that follows the form of the 18th century English Transitional, particularly the work of Joseph Fry, but reinvents it for the 21st century. The high-contrast display version echoes the early sans serif lettering tradition on the late 18th century, as shown in James Mosely's treatise on the sans serif <i>The Nymph and the Grot</i>. It can equally be described as a serif typeface without serifs, and as a sans with much higher contrast than normal. Darby Sans Text is a low-contrast variation on the same design, with a larger x-height and an aggressively slanted italic. Paul designed both families with the help of Australian type designer <a href="http://typelab.co">Dan Milne</a>. The typeface is named for the the Darby dynasty, a Quaker family who played a leading role in the Industrial Revolution in England, including the building of Ironbridge. This project's initial roots lie in the exploration of historical English lettering that also yielded Chiswick (formerly Wyatt), designed by Paul for <i>O, The Oprah Magazine</i>. <br><br> The quiet elegance of Darby plays nicely against the aggressive beauty of Berton Hasebe’s Portrait, which started out as an experiment in drawing a display typeface that managed to be both beautiful and brutal, and both classical and minimalist. The family draws its main inspiration from the Renaissance forms of French punchcutter Constantin. He cut what is believed to be the first true display typeface (at 32pt), with a lowercase to accompany its titling capitals. Its light, delicate forms were a major influence on the large types cut by Augereau and his apprentice Garamond, among other punchcutters of the time. Portrait is a depiction of the French Renaissance oldstyle, rather than a true revival, as it merges Constantin’s classical forms and proportions with a minimalist approach to details and sharply pretty Latin serifs. Portrait's heavier weights show the influence of the chiseled forms of German expressionist woodcuts. <br><br> Portrait was previously used in <i>Document Journal</i>, a New York-based fashion and arts magazine, but <i>Wallpaper*</i> marks the first appearance of the Inline, put to great use in the Newspaper section and in a special section on design in Taiwan. <br><br> The redesign carries through to the iPad edition and the typefaces will soon appear on the website as well.</p> <div id="news_thumbs"> <a href="/news/updates/darby_for_wallpaper?image=0"><img alt="01-wp_covers-144-xxx" src="/uploads/400004/1375995608519/01-WP_covers-144-xxx.jpg" style="left:0px;" width="144" /></a> <a href="/news/updates/darby_for_wallpaper?image=1"><img alt="02-wp_coverecu-106-xxx" src="/uploads/400004/1375995611983/02-WP_coverECU-106-xxx.jpg" style="left:164px;" width="106" /></a> <a href="/news/updates/darby_for_wallpaper?image=2"><img alt="03-wpeditorsletter-88-xxx" src="/uploads/400004/137599561212/03-WPEditorsLetter-88-xxx.jpg" style="left:290px;" width="88" /></a> <a href="/news/updates/darby_for_wallpaper?image=3"><img alt="04-wp_fob-darby-160-xxx" src="/uploads/400004/1375995613314/04-WP_FOB-Darby-160-xxx.jpg" style="left:398px;" width="160" /></a> <a href="/news/updates/darby_for_wallpaper?image=4"><img alt="05-darbysansnarrow-130-xxx" src="/uploads/400004/1375995614599/05-DarbySansNarrow-130-xxx.png" style="left:578px;" width="130" /></a> <a href="/news/updates/darby_for_wallpaper?image=5"><img alt="06-darbysanstext-106-xxx" src="/uploads/400004/1375995615936/06-DarbySansText-106-xxx.png" style="left:728px;" width="106" /></a> <a href="/news/updates/darby_for_wallpaper?image=6"><img alt="07-wp-darbyfeaturereg-126-xxx" src="/uploads/400004/1375995830860/07-WP-DarbyFeatureReg-126-xxx.jpg" style="left:854px;" width="126" /></a> <a href="/news/updates/darby_for_wallpaper?image=7"><img alt="08-wp-darbyfeaturebold-137-xxx" src="/uploads/400004/1375995831739/08-WP-DarbyFeatureBold-137-xxx.jpg" style="left:1000px;" width="137" /></a> <a href="/news/updates/darby_for_wallpaper?image=8"><img alt="09-wp-darbyapp-90-xxx" src="/uploads/400004/1375995831758/09-WP-Darbyapp-90-xxx.png" style="left:1157px;" width="90" /></a> <a href="/news/updates/darby_for_wallpaper?image=9"><img alt="10-wp_fob-portraittext-183-xxx" src="/uploads/400004/137599583279/10-WP_FOB-PortraitText-183-xxx.jpg" style="left:1267px;" width="183" /></a> <a href="/news/updates/darby_for_wallpaper?image=10"><img alt="13-wp-portraitfobspread-161-xxx" src="/uploads/400004/1375995835974/13-WP-PortraitFOBspread-161-xxx.jpg" style="left:1470px;" width="161" /></a> <a href="/news/updates/darby_for_wallpaper?image=11"><img alt="14-wp-portrait text-167-xxx" src="/uploads/400004/1375995930771/14-WP-Portrait Text-167-xxx.png" style="left:1651px;" width="167" /></a> <a href="/news/updates/darby_for_wallpaper?image=12"><img alt="15-wp_portraitcond inline-87-xxx" src="/uploads/400004/1375995931316/15-WP_PortraitCond Inline-87-xxx.png" style="left:1838px;" width="87" /></a> <a href="/news/updates/darby_for_wallpaper?image=13"><img alt="16-wp-portrait-sansinline-180-xxx" src="/uploads/400004/1375995932165/16-WP-Portrait-SansInline-180-xxx.jpg" style="left:1945px;" width="180" /></a> <a href="/news/updates/darby_for_wallpaper?image=14"><img alt="17-wp-portrait-cond-95-xxx" src="/uploads/400004/1375995933138/17-WP-Portrait-Cond-95-xxx.jpg" style="left:2145px;" width="95" /></a> <a href="/news/updates/darby_for_wallpaper?image=15"><img alt="19-wp-darbyapp2-90-xxx" src="/uploads/400004/1375995933687/19-WP-Darbyapp2-90-xxx.png" style="left:2260px;" width="90" /></a> <a href="/news/updates/darby_for_wallpaper?image=16"><img alt="20-wp-portraitcondapp1-90-xxx" src="/uploads/400004/1375995934947/20-WP-PortraitCondapp1-90-xxx.png" style="left:2370px;" width="90" /></a> <a href="/news/updates/darby_for_wallpaper?image=17"><img alt="21-wp-portraitcondapp2-90-xxx" src="/uploads/500005/1375995935419/21-WP-PortraitCondapp2-90-xxx.png" style="left:2480px;" width="90" /></a> <a href="/news/updates/darby_for_wallpaper?image=18"><img alt="22-wp-app3-90-xxx" src="/uploads/500005/1375995936350/22-WP-app3-90-xxx.png" style="left:2590px;" width="90" /></a> </div> CommercialType http://commercialtype.com/news/109 Thu, 08 Aug 2013 00:00:00 +0000 109 Custom typefaces, publications: <h2>05 AUGUST 2013 | <a href="/news/categories/custom typefaces">CUSTOM TYPEFACES</a> | <a href="/news/categories/publications">PUBLICATIONS</a></h2> <h3><a href="/news/updates/vf_didot_for_vanity_fair">VF Didot for <i>Vanity Fair</i></a></h3> <p><a href="http://vanityfair.com"><i>Vanity Fair</i></a> design director Chris Dixon has been refreshing the look of the magazine since he arrived in late 2011. Rather than a top-to-bottom redesign, this has been a gradual improvement focused on keeping the basic visual DNA of the magazine intact, but improving the sections, navigation, and overall aesthetic. Part of this upgrade was a new display typeface to replace the Didot the magazine has been using for nearly 20 years. After nearly a year-long design process, <b>VF Didot</b>, designed by Paul Barnes and Christian Schwartz, debuted on the cover of the August 2013 issue, and is used in much of the interior of the September 2013 issue. <br><br> The brief was not for a fundamental change. The new typeface didn't just need to have high contrast; it needed to be recognizable as a Didot (as opposed to any other kind of Modern), which provided the interesting challenge of making something new in very familiar and well-explored territory. Before starting work on the project, Paul and Christian asked type historian Sébastien Morlighem, an expert on the Modern genre and particularly its history in France, to dig up samples of any interesting, unfamiliar, and surprising French Moderns he could put his hands on. Paul also spent some time with the small but substantial collection of French specimens at the St Bride Printing Library. Sébastien sent samples of many weird and wonderful Moderns, but Chris Dixon, his art director Chris Mueller, and their editor in chief Graydon Carter (who was much more involved in directing the typeface than an editor typically is) were most taken with the work of Molé Le Jeune, a punchcutter employed by the Didot family in the earily 19th century. Molé’s romans hewed closely to the Didot model, but his italics were wildly expressive, with a dramatic angle of slope and sharp forms for v and w. <br><br> In addition to enlarging the x-height, which makes the typeface feel fresher and less like a purely historical artifact, Christian and Paul departed fully from the historical model with the ball terminals. These don't have the distinctive teardrop shape of a typical Didot revival, instead having a sharper, rounder form, taking cues from advertising lettering of the mid 20th century. <br><br> The family has 7 optical sizes and up to 5 weights in each size. The smallest sizes are not intended for blocks of text; instead, they are designed for use as small display type, i.e. for tiny coverlines and the table of contents. As such, the strong personality of the typeface is retained through all sizes, rather than being toned down as it gets smaller. All styles include small caps. Additionally, <i>Vanity Fair</i> has commissioned a stencil version of the Didot in two sizes. <br><br> In addition to the US edition of the print magazine, VF Didot is also used in the newly launched French edition (which pairs it with a wonderfully distinctive condensed sans by <a href="http://www.jblt.co/v2/en/jbl/page/projects/fashion-luxury-design/vanity-fair-france">Jean-Baptiste Levée</a>), on the <a href="http://vanityfair.fr">French edition of the website</a>, and in the US iPhone and iPad apps. </p> <div id="news_thumbs"> <a href="/news/updates/vf_didot_for_vanity_fair?image=0"><img alt="00princess-diana-in-love-vanity-fair-cover-sept-2013-84-xxx" src="/uploads/400004/1375658642258/00princess-diana-in-love-vanity-fair-cover-sept-2013-84-xxx.jpg" style="left:0px;" width="84" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=1"><img alt="01_vfname-rm-186-xxx" src="/uploads/400004/1375658644991/01_VFname-rm-186-xxx.png" style="left:104px;" width="186" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=2"><img alt="02_vfname-it-195-xxx" src="/uploads/400004/1375658644652/02_VFname-it-195-xxx.png" style="left:310px;" width="195" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=3"><img alt="03_vfcovers-151-xxx" src="/uploads/400004/1375658645624/03_VFcovers-151-xxx.png" style="left:525px;" width="151" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=4"><img alt="05_vfdidot-weights-rom-153-xxx" src="/uploads/400004/1375658646981/05_VFDidot-weights-rom-153-xxx.png" style="left:696px;" width="153" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=5"><img alt="06_vfdidot-weights-ital-153-xxx" src="/uploads/400004/137565864676/06_VFDidot-weights-ital-153-xxx.png" style="left:869px;" width="153" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=6"><img alt="07_vfcolumns-159-xxx" src="/uploads/400004/1375658647145/07_VFcolumns-159-xxx.png" style="left:1042px;" width="159" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=7"><img alt="09_vfheadlight-167-xxx" src="/uploads/400004/1375658648643/09_VFHeadLight-167-xxx.png" style="left:1221px;" width="167" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=8"><img alt="10_vfbigdisplay-97-xxx" src="/uploads/400004/1375658648359/10_VFbigdisplay-97-xxx.png" style="left:1408px;" width="97" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=9"><img alt="11_vfheadreg-186-xxx" src="/uploads/400004/1375658649287/11_VFheadReg-186-xxx.png" style="left:1525px;" width="186" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=10"><img alt="12_vffashion-159-xxx" src="/uploads/400004/1375659566619/12_VFFashion-159-xxx.png" style="left:1731px;" width="159" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=11"><img alt="13_vfbold-167-xxx" src="/uploads/400004/1375658649628/13_VFBold-167-xxx.png" style="left:1910px;" width="167" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=12"><img alt="14_vfstencil-175-xxx" src="/uploads/400004/137565865099/14_VFstencil-175-xxx.png" style="left:2097px;" width="175" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=13"><img alt="15a_vfcaps2-167-xxx" src="/uploads/400004/1375659826611/15a_VFcaps2-167-xxx.png" style="left:2292px;" width="167" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=14"><img alt="15b_vfsmalldisplay-154-xxx" src="/uploads/400004/1375659644279/15b_VFsmalldisplay-154-xxx.png" style="left:2479px;" width="154" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=15"><img alt="16_vfopticalsizes-153-xxx" src="/uploads/400004/1375658651709/16_VFopticalsizes-153-xxx.png" style="left:2653px;" width="153" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=16"><img alt="18_vffobpullquote-200-xxx" src="/uploads/400004/1375658652493/18_VFFOBpullquote-200-xxx.png" style="left:2826px;" width="200" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=17"><img alt="19_vfstencil1-149-xxx" src="/uploads/400004/1375658653628/19_VFstencil1-149-xxx.png" style="left:3046px;" width="149" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=18"><img alt="20_vfstencil2-149-xxx" src="/uploads/400004/1375658653680/20_VFstencil2-149-xxx.png" style="left:3215px;" width="149" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=19"><img alt="21_vfiphone01-80-xxx" src="/uploads/400004/1375659567667/21_VFiphone01-80-xxx.png" style="left:3384px;" width="80" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=20"><img alt="22_vfiphone02-80-xxx" src="/uploads/400004/137565956842/22_VFiphone02-80-xxx.png" style="left:3484px;" width="80" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=21"><img alt="23_vfwebfrance-154-xxx" src="/uploads/400004/137565865424/23_VFwebFrance-154-xxx.png" style="left:3584px;" width="154" /></a> <a href="/news/updates/vf_didot_for_vanity_fair?image=22"><img alt="24_vfchart-192-xxx" src="/uploads/400004/1375658643149/24_VFchart-192-xxx.png" style="left:3758px;" width="192" /></a> </div> CommercialType http://commercialtype.com/news/108 Mon, 05 Aug 2013 00:00:00 +0000 108