Pentagram designed new opening titles and bumpers for the 40th season of Saturday Night Live, which debuted on September 27. Berton Hasebe drew a custom version of Druk Condensed, slightly lighter and wider than the existing version.
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 showcase.commercialtype.com.
Commissioned by Alex Grossman and Kristin Eddington, Miguel Reyes and Christian Schwartz provided eleven pieces of lettering for the 2014 Hot Ten, Bon Appétit's annual list of the ten best new restuarants in the US.
Another part of Paul Barnes's onging Chiswick project, first seen in O, the Oprah Magazine in 2010, and later in Document Journal in 2013, has made its public debut in the latest edition of ’SUP MAGAZINE.
The forms of Commercial Type's latest release, Publico Text Mono, feel at once familiar and alien—recognizable as Publico, but with a distinctly strange texture. Greg Gadzowicz added the italics in 2014. In keeping with the un-designed aesthetic, the italics are optically corrected obliques.
Paul Barnes's Marian was designed for large sizes only, but the concept for the family was always about reduction to the underlying skeleton, rather than size, so Marian Text applies these principles to make a family that works for small sizes. Suddenly Marian is no longer just a beautiful series of display faces, but a useful text family.
Christian Schwartz will reprise his lecture from last year's Ampersand conference, expanded to show some new projects and to reflect the fact that the world of webfonts continues to evolve at a rapid pace.
In the third installment of Roland Früh's Easy Lessoning residency (together with Ryan Waller and Other Means) in Brooklyn, Christian Schwartz will speak on Commercial Type's work with Vanity Fair and Louise Paradis will present her research and design around the TM Typografische Monatsblätter.
Marr Sans is a 2014 revival of a characterful grotesque that appeared in only one weight during the 1870s. Paul Barnes and Dave Foster have expanded this original into a seven weight family. One of the innovations of the nineteenth century captured in Marr, are the first sans serif oldstyle figures in a typeface, at the time a considerable novelty.
Christian Schwartz will give a guest lecture for the participants in a special summer residency program at the School of Visual Arts in New York called "Typography as Language: Design, History and Practice".
New York design studio Project Projects have redesigned poets.org, the online home of the Academy of American Poets. A major component of the redesign is a new digital revival of William Addison Dwiggins's Electra, first issued by Linotype in 1935, made with the kind permission of Monotype.
Chiswick Sans High has had its first public use in issue number 4 of Document Journal, a New York-centric fashion, art, and culture magazine. started by Paul Barnes in 2009 when he was drawing Chiswick.
Inspired by brush lettering, Gabriello was commissioned by Puma, and is now available for licensing. Paul Barnes originally designed Gabriello in a single Bold weight. 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.
A small addition to Graphik debuted in today's issue of T, the New York Times Style Magazine: Graphik Titling, based on the as-yet unreleased Condensed, X Condensed, and XX Condensed widths of Graphik.
Christian will be speaking at « Lettres Modernes 2: voir, regarder, lire » at l'École supérieure d’arts & médias de Caen/Cherbourg in Caen, France. Organized by type designer and teacher Jean-Baptiste Levée, this symposium will center around the idea of how the coexistence of traditional and new media influences typography and its per...