@commercial@typo.social
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commercial

@commercial@typo.social

New York/London/Philadelphia

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commercial, to random
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NEW RELEASE! Focal by Greg Gazdowicz is an unusual kind of revival. Rather than bringing particular typeface back to life, Focal captures the particular quality of a lost era of print production: the 1970s, when the hot-metal era gave way to phototypesetting, and type as a whole lost some of its sharpness.

https://commercialtype.com/catalog/focal

"15" in Focal Regular
"Reflect convex opacity" in Focal Light
"FOR BEST RESULTS, ADJUST TO THE FOCAL LENGTH OF THE MIRROR" in Focal Black

commercial,
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Every corner is rounded in Focal, but not all corners are rounded equally: inner corners have a more consistent radius, while the outer corners are vertically elongated, better capturing what happened in the photographic process. Its relatively small x-height is out of step with the large post-ITC counterforms that have defined the past two decades of type design, both for fashionable and functional reasons, making it stand out among recent sans serifs.

Read more at https://commercialtype.com/about/collections/focal

Focal weight range, showing six weights

mass_driver, to random
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Back in 2020, Canva reached out about licensing MD Nichrome for use in their product. They had the shadiest contract I’d ever seen, and immediately pulled out when I gave them what was, in retrospect, an extremely low quote.

If they’ve bought Affinity, should I look into, what, QuarkXPress?

commercial,
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@mass_driver They got in touch with us too, but you'll be shocked to hear that the conversation ended abruptly after we sent a quote.

commercial, to random
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NEW RELEASE: Ionic Modern by Paul Barnes and Greg Gazdowicz, a variable font that strives to capture the spirit of the two sources it taps: the sturdy Ionic pioneered by Caslon and the elegant, extra-high-contrast Modern style of the second half of the nineteenth century. The overarching goal with Ionic Modern was to design a typeface that preserved the spirit of the willowy late Moderns of the Victorian era.

https://commercialtype.com/catalog/ionic_modern

Ionic Modern Poster Medium and Medium Italic
Ionic Modern Poster Thin Italic
Ionic Modern Deck Bold Italic

commercial,
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This form, which continues to evoke high fashion and luxury today, is close to the archetype most designers think of as a “Modern,” particularly Modern No. 20, beloved by designers on both sides of the Atlantic including Herb Lubalin and Massimo Vignelli.

commercial,
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Ionic Modern’s serifs are bracketed and elongated; contrast is pronounced; balls are crisply defined; and the rounds move toward a diamond shape. The counters are narrow, but the letters are wide, with a tall x-height. Ionic Modern has six weights in Poster, Deck and Text sizes, along with a variable version that also incorporates Caslon Ionic.

https://commercialtype.com/catalog/ionic_modern

Caslon Ionic Regular
Six weights of Ionic Modern, with italics
Three optical sizes of Ionic Modern, plus Caslon Ionic

commercial, to random
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Posters of posters to coincide with Paul's lectures in Scotland last week.

https://www.buildhollywood.co.uk/work/commercial-type-x-fraser-muggeridge-studio/

armstrong, to random
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@commercial are there any plans for a variable version of Atlas Grotesk in the short/medium term?

commercial,
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@armstrong Not currently, but a single-axis family like Atlas Grotesk is relatively straightforward to variableize. Email us at our info address and we'll see what we can do.

commercial, to random
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New work: logotype for heritage leather goods company Mark Cross, drawing on their 179-year history. Logotype by Greg Gazdowicz and Christian Schwartz, illustration by Caroline Church, creative direction by Povilas Utovka.

More info here:
https://commercialtype.com/custom/logotype_and_icon_for_mark_cross

Heraldic lions for Mark Cross in 4 optical sizes
Small taglines lettered in a flared sans

commercial, to random
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New in the Vault: additional weights for Royal Gothic, by Paul Barnes with Tim Ripper and Luke Charsley. This quirky bold display face is now more of a workhorse, with a full range of weights that feels almost like a British counterpart to Aurora Grotesk.

vault.commercialtype.com

Tim Ripper worked together with Paul Barnes to expand the weight range in 2023, pushing both into bolder territory...
..and seeing how delicate the forms could become. The boxy rounds differentiate the family from earlier sans serifs like Caslon Doric.
Though its personality is distinctly more British than Teutonic, Royal Gothic bears some resemblance to Neue Moderne Grotesk, also known as Aurora-Grotesk, famously used for text throughout Die Neue Typografie, Jan Tschichold’s seminal work on asymmetrical typography. vault.commercialtype.com

commercial, to random
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New in the Vault: Feature Flat, a quieter variation on Berton Hasebe and Christian Schwartz’s editorial workhorse Feature, in three optical sizes.

vault.commercialtype.com

(Still catching up on last year's releases...)

Where Feature felt pertectly at home in the stylish layouts of T, the New York Times Style Magazine, Feature Flat brings a sober personality to the dense layouts of news startup Semafor, who commissioned the modification. Only the head serifs have changed, in just over half of the lowercase: b d h i j k l m n p r u v w and their respective accented variants; no capitals, no numbers. Yet the change in texture is both fundamental and undeniable. Typeset in Feature Flat Text Regular
"The effect of a single design choice." in Feature Flat Display Extrabold
Display, Deck, and Text optical sizes are available now in the full range of weights (except Ultra). vault.commercialtype.com Typeset in Feature Flat Deck Light

commercial, to random
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New-ish release! In November we released Nicola by Miguel Reyes, inspired by Tommy Thompson's methods of comping headlines with a flat-tipped pencil. Miguel thought that the tension between the rough, informal quality of the rendering and classical letterforms would be a fresh way to interpret the types cut by Nicolas Jenson in Venice in the late fifteenth century.

https://commercialtype.com/catalog/nicola

Text in Nicola Medium Italic, in upper and lowercase.
A headline in Nicola Bold and Bold Italic, in upper and lowercase.
A two-column block of text in Nicola Regular No 2, with a subhead in all caps.

commercial,
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Miguel's two main references are shown here: a spread from Tommy Thompson's 1946 "How to Render Roman Letter Forms" showing how he approximated Caslon (via archive.org) and an enlargement of Nicolas Jenson's Roman as seen in his 1476 printing of Pliny the Elder's "in Florentina" (via Wikipedia). The chiseled quality of the angled serifs gives an unusual texture to Nicola.

Nicolas Jenson's Roman type used in his printing of Pliny the Elder's "in Fiorentina", Venice, 1476

commercial, to random
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New in the Vault this week: Punch, drawn by Paul Barnes with Tim Ripper, revives and expands Miller & Richard's News Bill Italic with an upright.

vault.commercialtype.com

Our first release of 2024 is Punch, a delightful informal rounded headline face.
Based on Miller & Richard's charming News Bill Italic from the 1870s, Tim Ripper and Paul Barnes have now added a roman.
Narrow in width it has Sans Serif capitals mixed with a Seriffed lower case, and was originally drawn for the exhibition Yayoi Kusama: You, Me and the Balloons at Factory International, Manchester, UK, 2023.

DunwichType, to random
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Where are the type designers advertising now that most of us have abandoned Twitter? I’ve heard that LinkedIn is good because people use it on their desktop so they might buy fonts right after seeing an ad. Instagram, OTOH, seems to be mobile centric so it’s not a great way to sell downloads.

commercial,
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@letterror @DunwichType @typographica Yeah, newsletters.

commercial, to random
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New newsletter today, and a new release from Miguel Reyes.

https://commercialtype.com/newsletters/96

https://commercialtype.com/catalog/nicola

commercial, to random
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NEW RELEASE! Sandrine Nugue’s asymmetrically flared Moulin, now in our main library, is all about rhythm. The lush curves at the face’s incoming and outgoing points make for an intriguing tension between inside and outside, producing a sculptural rather than a calligraphic disposition that feels comfortable in running text and discreetly dramatic at display sizes.

https://commercialtype.com/catalog/moulin

Names of seven herbs in English and French, set in the full range of weights of Moulin
Moulin was designed in the South of France around these places
List of many places in the South of France, set in Moulin Medium

commercial,
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Read more about Sandrine's influences and approach to type design here:

https://commercialtype.com/about/collections/moulin

commercial, to random
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We just backed the Words of Type project by @lisahuang. Please contribute to what promises to be a very useful resource, if you can:

https://www.kickstarter.com/projects/hellolisahuang/words-of-type

commercial, to random
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New in the Vault: Control, an irreverent interpretation of Walter Käch's sans serif lettering examples with no "correct" version: adjust weight, contrast, apertures, and tracking to your liking, and choose between an oblique and a cursive. Make a politely legible mid-century grotesk or a 70s nightmare…

Control was drawn by Christian Schwartz and Miguel Reyes and first used by Interview magazine (who commissioned the Cursive and the TNT tracking).

https://vault.commercialtype.com

New in the Vault, Control was drawn by Christian Schwartz using the sans serif examples in Walter Kach's 1949 lettering manual Schriften Lettering Ecriture as a starting point. Schwartz has taken the idea of the lettering manual literally: Control is a variable font with axes for weight, contrast, and apertures, and users can then find their preferred combination of these for any application. There is no “correct” version—the settings are meant to be fine-tuned for each situation.
Maybe you want a headline to be slightly tighter? Or a little heavier? Or the apertures more open, or the apertures more closed... (Showing slight variations from the variable axes)
The heavier weights can have more contrast. (shown with higher stroke contrast) Or they can have less. (shown with minimal stroke contrast)

commercial,
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Schwartz first sketched Control in 2017, when he and Berton Hasebe were working on a commission for T, the New York Times Style Magazine. He came back to the project in 2022 for a refresh of Interview magazine, which inspired TNT tracking (based on 1970s headline treatments from the archive) and the Cursive, loosely inspired by the 1982 Letraset face Van Dijk.

TNT stands for Tight Not Touching In a bolder weight of Control Upright and Italic, with tight tracking.
Interview’s sensibility spans high fashion and downtown trash culture, inspiring Control Cursive, which leavens the serious modernist tone of the upright with 1980s strip mall hair salon vibes. It is a counterintuitive addition to a sans family, but somehow seems to work. It was meant to be the only italic, until that idea was nixed by the editorial team. Set in the Regular weight of Control Upright, Cursive, and Italic, with looser tracking for text
Control Cursive was drawn by Miguel Reyes in collaboration with Schwartz, and is loosely inspired by Van Dijk, drawn by Jan van Dijk for Letraset in 1982. Set in Control Cursive, slightly heavier than the medium weight, with tight-ish tracking for a small headline and names in Control Upright.

commercial,
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Control first appeared in a special publication produced by Interview for Art Basel Miami in November 2022.

The tight tracking is directly inspired by Interview's archives, specifically the large-format newsprint issues in the 1970s.

Instagram post from @interviewmag, with text in Control over a photo of Todd Haynes. "I just want to be as present for my death as possible."
Spread from Nov 2022 special publication produced by Interview, with a photograph of Lindsay Lohan driving a car above text in Control Upright and Cursive.
Spread from Nov 2022 special publication produced by Interview, with a photograph of Lindsay Lohan showing a briefcase full of cash to a man dressed as a detective, above text in Control Upright and Cursive.

commercial,
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Anyone looking for a faithful rendition of Käch's sans serif lettering examples made into a typeface should look at Dinamo's Walter Alte & Neue.

Control tries to apply the idea of the lettering manual literally, giving users the option to adjust the letterforms to each situation. Like Greg Gazdowicz'z Align, the concept is fully realized only in the variable version. We'll be curious to see what people do with it.

commercial, to random
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Read more about Hrvoje's process of designing Ergon and see some of his references here:
https://commercialtype.com/about/collections/ergon

commercial, to random
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New release! Ergon by Hrvoje Živčić, a display typeface that artfully combines influences: stone-chiseled letters meet sharp digital drawing to produce sculptural graphic forms.

A FOUNTAIN AND A CURIOUS CLOCK-TOWER IN THE PIAZZA, WHICH TERMINATES THE STRADONE TOWARDS THE EAST, WERE ERECTED BY THE ARCHITECT & ENGINEER ONOFRIO. in Ergon Black Italic

commercial,
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Ergon is a chiseled typeface of high contrast that has triangular terminals reminiscent of serifs, but that is fundamentally a sans serif. The family has six weights, from a delicate Thin to a hefty Black, with a straightforward oblique italic enlivened with a handful of cursive forms.

https://commercialtype.com/catalog/ergon

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