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- Feed Preview Commercial Type – Typographica
Chiswick
Type designers have to walk a fine line when creating type directly inspired by a specific location. We love discovering new source material and find it endlessly fascinating, but are simultaneou...
Graphik Arabic
Graphik Arabic is a pleasant and contemporary design that is versatile in usage and fun to play with. The family has quite a range of weights and succeeds in maintaining its rhythm and family fee...
Sanomat
I don’t remember when I first saw Sanomat, but I clearly recall what I thought to myself: “Damn, I wish I had done this!” Lots of typefaces have very specific designs and clear forms, and r...
Canela
When I think about the design of Miguel Reyes’ Canela, I keep returning to the idea of a melting pot. It’s what I reached for when asked to design a wedding invitation for friends (the union ...
Styrene
Berton Hasebe’s Styrene is an unexpected design, executed with a determined confidence that immediately drew me in. It is extremely difficult to find a unique space in the world of geometric sa...
Robinson
The first time I saw the beginning of Robinson was in the fall of 2011. Back then, Dribbble wasn’t filled to the brim with typeface ideas, and I was simply happy to stumble on someone’s work ...
Algebra
I first became aware of Susana Carvalho and Kai Bernau in Footnotes, where they published an article about their revival of Josef Müller-Brockmann’s typewriter typeface Candia. It was a nice s...
Action Condensed
At first glance, Action Condensed may seem to blend in with many other condensed geometric grotesks, but it’s at least one leap beyond. Designers too easily overlook condensed faces as a tool f...
Druk Text, Druk Text Wide
It’s easy to sort typefaces into broad categories of useful text faces on one hand and exuberant display faces on the other. One group is designed for small sizes, the other for big; everyday w...
https://typographica.org/typeface-reviews/druk-text-druk-text-wide/
Sanomat Sans
In 2013, Finland’s major daily newspaper Helsingin Sanomat transitioned from broadsheet to tabloid. The redesign, under group creative director Sami Valtere, called for a sans serif family to p...
Dala Prisma
Just when we thought Dala Floda – Paul Barnes’ crisply contemporary humanist stencil of 2010 – was an original and pretty crazy idea, here is a dazzling display variant that replace...
Marr Sans
Marr Sans embodies a process that I find most significant in typeface design. It might be called referism: the smart use of references and history in contemporary design. Far from being a bland r...
Druk
I’ve always had a soft spot for extreme typefaces, and Druk just hit me right in the heart. When I subscribed to Bloomberg Businessweek back in 2012, I started to see spreads like this — ...
Marian Text
A review last year by Caren Litherland called our attention to Marian in its display form. Like oversized fossils, Paul Barnes’ Marian brought viewers together with a skeletal interpretation of...
Portrait
Commercial Type knows how to look at old type with fresh eyes. They may do it better than anyone. Three of the foundry’s recent releases clearly demonstrate this rare ability: Paul Barnes str...
Dala Moa
Dala Moa has a very particular voice that mixes the practicality of stencil faces with the refinement of a high-contrast sans serif. It is the cousin of Dala Floda, a stencil serif originally con...
Duplicate
Although it counts as one of the most popular typefaces of the 20th century, I never really paid much attention to Antique Olive. But, last year, this suddenly changed. I noticed it being used mo...
Marian
On a cold night in the fall of 2011, I rode the subway downtown to look at a typeface specimen. As I walked south on Elizabeth Street and then turned right onto Kenmare, the specimen came into vi...
Atlas Grotesk
I have been in a love affair with grotesque sans serifs for many years now, so it’s no wonder I chose Atlas Grotesk as my favorite type family of 2012. Its clear, plain shapes simply appeal to ...
Atlas Typewriter
Atlas Typewriter, the lovely complement to Atlas Grotesk, is described by its creators as possessing a fundamental “monospacedness”. I think it is this principle that helps make the face st...
Zizou
Roger Excoffon (1910–1983) was the most talented French type designer of the 20th century and probably the most prolific in the whole of French typographic history. Being an admirer of Excoffon...
Stag
If at the end of our current decade slab serifs are the new black, then Christian Schwartz may be the new Maggie Prescott. In 2005, Schwartz and Barnes’ Guardian included a masterful retelling ...
Graphik
In a sweltering typographic climate that favours ‘organic’ look-at-me typefaces bursting with a thousand OpenType tricks, Graphik is a refreshing splash of cool rationality. ...Sitting in a p...
Giorgio
The designers at T were clearly unafraid of what it demands from the typographer and, over the past year, kept on finding ways to push Giorgio to its limit. Extremely well drawn in its details, f...
Guardian
Given the rare chance to build a comprehensive type system from scratch for a major newspaper redesign, Barnes and Schwartz met the challenge. A slab-serif design with a large x-height, low contr...