News from 2014

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".

Designed by Berton Hasebe, Druk is a study in extremes, featuring the narrowest, widest, and heaviest typefaces in the Commercial Type library to date.

Christian will be speaking at the National Library of Sweden in Stockholm for A4's next Typographical Friday. For more information or to reserve a spot, please see the event page (in Swedish).

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.

Christian Schwartz will be speaking at the Moscow offices of Yandex on April 19.

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.

Paul has confirmed 6 events in Australia and New Zealand in April. Lectures are planned in Melbourne, Hobart, Canberra, Christchurch, and Auckland. A workshop is also planned.

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 perception.

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 ins...

The latest issue of Wallpaper* uses Portrait Inline to great effect, along with the rest of the family and Darby Sans Text, for their 2014 Design Awards.

A Wide width in three weights has been added to Schnyder for this year's issues of T, the New York Times Style Magazine. Schnyder was originally designed 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.

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. Caponi expands the notion of what Bodoni’s work was.

Stag and Stag Sans were designed by Christian Schwartz in 2005 for the US edition of Esquire, 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 over the years, so we have added it to both families.

Austin was first designed in 2003 for the elegant display typography of Harpers & Queen, 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 Richa...