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 ...
Drawn by Berton Hasebe, Produkt is the slab serif version of the sans Graphik family. This typeface follows the twentieth century tradition of adding slabs to a European Grotesk to create an attractive and functional companion serif typeface.
Ariel Cepeda has redesigned Le Dimanche Matin, the Sunday edition of the Lausanne-based French language Daily Le Dimanche, serving the Vaud region. Headline typography is in Kai Bernau's Lyon Display and Produkt, a slab serif companion to Graphik designed by Berton Hasebe with Christian Schwartz, slated for release in November 2014.
Paul will be one of the speakers at a symposium on Didot and Modern typefaces on 16–17 October 2014, organized by Sébastien Morlighem. The other speakers include James Mosley, François Rappo, and Loïc Sander.
We had some of our 2010-2014 type specimen books left, but we overwhelmed by demand, 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: firstname.lastname@example.org.
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. Drawn by Paul Barnes together with Dan Milne, the roots of Darby lie in the British tradition of lettering and typefounding th...
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.