Commercial Type [Christian Schwartz]

doctor ru · 17.01.2011, 16:34

Foundry, est. 2009 or 2010 by Paul Barnes (London) and Christian Schwartz (New York). Their own blurb: Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, most notably the award winning Guardian Egyptian. The company publishes retail fonts developed by Schwartz and Barnes, their staff, and outside collaborators, and also represents the two when they work together on typedesign projects. Following the redesign of The Guardian, as part of the team headed by Mark Porter, Schwartz and Barnes were awarded the Black Pencil from the D&AD. The team were also nominated for the Design Museum's Designer of the Year prize. In September 2006, Barnes and Schwartz were named two of the 40 most influential designers under 40 in Wallpaper.

In house type designers in 2010: Paul Barnes, Christian Schwartz, Berton Haasebe, and Abi Huynh.

Austin (+Cyrillic): Designed for British style magazine Harper's&Queen, Austin is a loose revival of the typefaces of Richard Austin of the late 18th century for the publisher John Bell. Working as a trade engraver Austin cut the first British modern and later the iconoclastic Scotch Roman. Narrow without being overtly condensed, Austin is a modern with the styling and sheen of New York in the 1970s. Designed by Paul Barnes and Ilya Ruderman from 2007-2009. Has a Cyrillic.

Giorgio (+Sans): Giorgio and its matching sans were designed for Chris Martinez at T, the New York Times Style Magazine, bringing runway proportions to the page in contrasting ways. Designed by Christian Schwartz, 2008-2009.

Graphik: The dominant trend of the mid twentieth century simple sans serifs still reverberates in visual culture. Graphik proves that it is still possible to create something refreshing inspired by this era. Taking cues from the less-known anonymous grotesques and geometric sans serifs, Graphik is perfectly suited for graphic and publication design. Originally designed for the Schwartz's own corporate identity, it was later finished for Condé Nast Portfolio and then expanded for Wallpaper and later T, the New York Times Style Magazine. Designed by Christian Schwartz in 2009.

Guardian (Egyptian Headline, Sans Headline, Egyptian Text, Agate Sans): What happens when you try to make a new sans serif by chopping the slabs off of an Egyptian? That was the original inspiration behind this modern classic designed for Mark Porter and the Guardian newspaper. Comprised of several interrelated families: Sans and Egyptian for headlines; a Text Egyptian; and an Agate Sans, every possible typographic need of a daily paper is fulfilled. Serious news headlines, expressive features, readable text, tiny financial listings, info graphics, and everything in between can be capably handled with ease. Designed by Paul Barnes and Christian Schwartz, 2009.

Lyon Text: Begun as Kai Bernau's degree project on the Type + Media course at the Royal Academy of Art (KABK) in The Hague, Bernau extensively revised the typeface in time for its debut in the New York Times Magazine in 2009. Like many of the great seriffed typefaces it draws intelligently from the work of Robert Granjon, the master of the Renaissance, while having a contemporary feel. Its elegant looks, are matched with an intelligent, anonymous nature, making it excellent for magazines, book and newspapers. Designed by Kai Bernau, 2009.
Neue Haas Grotesk (2011).

Stag (+Sans, Dot, Stencil, Sans Round): Stag started as a small family of slab serifs commissioned for headlines by the US edition of Esquire magazine and eventually grew into a sprawling multi-part family including a flexible sans companion and two additional display variants that are probably best described as special effects. Designed by Christian Schwartz, Berton Hasebe and Ross Milne, 2008, 2009.

Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type). A revival of Dick Dooijes's Mercator.

http://commercialtype.com/typefaces
http://www.christianschwartz.com/bio.shtml

wolto · 25.07.2012, 22:15

Austin
Austin Cyrillic
DB Sans
DB Serif
Graphik
Lyon Display
Lyon Text
Platform
Stag
Stag Dot

Download

~~derbalmer~~ · 17.08.2012, 11:04

Plakat from C. Schwartz

download

doctor ru · 12.09.2012, 07:49

Neue Haas Grotesk (11 x OTF: by Christian Schwartz, 2011)

http://www.myfonts.com/fonts/linotyp...-haas-grotesk/
http://www.linotype.com/6598/neuehaasgrotesk.html

download

drkhaos · 12.09.2012, 11:42

Houston by Christian Schwartz (16*OTF) Deck, Headline, Text

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doctor ru · 25.10.2012, 03:05

Код:

guardian agate sans
guardian egyptian headline
guardian egyptian text
guardian sans headline

download

vysionous · 26.10.2012, 21:10

Stag Rounded

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vysionous · 27.10.2012, 01:20

Giorgio + Giorgio Sans

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doctor ru · 03.11.2012, 16:26

Dala Floda Bold (Version 1.002;PS 001.002;hotconv 1.0.57;makeotf.lib2.0.21895; 2010)
http://commercialtype.com/typefaces/dala_floda/bold

Dala Floda started out in 2005 as a headline typeface for Frieze Magazine.

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drkhaos · 03.11.2012, 17:53

Цитата:

Сообщение от doctor ru


	Открыть картинку Dala Floda Bold (Version 1.002;PS 001.002;hotconv 1.0.57;makeotf.lib2.0.21895; 2010) http://commercialtype.com/typefaces/dala_floda/bold Dala Floda started out in 2005 as a headline typeface for Frieze Magazine. * скрытый текст *

Here is complete family (v 1.002... 12 x otf )

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cheers

cera11 · 10.02.2013, 22:46

Platform (10-ОТ)
http://commercialtype.com

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Guido · 19.02.2013, 05:07

Publico Text 6 styles

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please add a preview

cera11 · 08.04.2013, 20:22

Atlas Grotesk 12 x OTF
http://commercialtype.com/typefaces/atlas/grotesk

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andrewes · 07.05.2013, 06:14

Christian Schwartz Commercial Fonts Compilation - 20 FONTS / 100 OTF

Fonts list

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vladsmolin · 05.06.2013, 08:23

Atlas Typewriter / 12 otf

http://commercialtype.com/typefaces/atlas/typewriter

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17.01.2011, 16:34	#1
doctor ru Ветеран Пол: Регистрация: 18.11.2006 Адрес: Киевская Русь Сообщений: 9,017 Репутация: 84746	Commercial Type [Christian Schwartz] Foundry, est. 2009 or 2010 by Paul Barnes (London) and Christian Schwartz (New York). Their own blurb: Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, most notably the award winning Guardian Egyptian. The company publishes retail fonts developed by Schwartz and Barnes, their staff, and outside collaborators, and also represents the two when they work together on typedesign projects. Following the redesign of The Guardian, as part of the team headed by Mark Porter, Schwartz and Barnes were awarded the Black Pencil from the D&AD. The team were also nominated for the Design Museum's Designer of the Year prize. In September 2006, Barnes and Schwartz were named two of the 40 most influential designers under 40 in Wallpaper. In house type designers in 2010: Paul Barnes, Christian Schwartz, Berton Haasebe, and Abi Huynh. Austin (+Cyrillic): Designed for British style magazine Harper's&Queen, Austin is a loose revival of the typefaces of Richard Austin of the late 18th century for the publisher John Bell. Working as a trade engraver Austin cut the first British modern and later the iconoclastic Scotch Roman. Narrow without being overtly condensed, Austin is a modern with the styling and sheen of New York in the 1970s. Designed by Paul Barnes and Ilya Ruderman from 2007-2009. Has a Cyrillic. Giorgio (+Sans): Giorgio and its matching sans were designed for Chris Martinez at T, the New York Times Style Magazine, bringing runway proportions to the page in contrasting ways. Designed by Christian Schwartz, 2008-2009. Graphik: The dominant trend of the mid twentieth century simple sans serifs still reverberates in visual culture. Graphik proves that it is still possible to create something refreshing inspired by this era. Taking cues from the less-known anonymous grotesques and geometric sans serifs, Graphik is perfectly suited for graphic and publication design. Originally designed for the Schwartz's own corporate identity, it was later finished for Condé Nast Portfolio and then expanded for Wallpaper and later T, the New York Times Style Magazine. Designed by Christian Schwartz in 2009. Guardian (Egyptian Headline, Sans Headline, Egyptian Text, Agate Sans): What happens when you try to make a new sans serif by chopping the slabs off of an Egyptian? That was the original inspiration behind this modern classic designed for Mark Porter and the Guardian newspaper. Comprised of several interrelated families: Sans and Egyptian for headlines; a Text Egyptian; and an Agate Sans, every possible typographic need of a daily paper is fulfilled. Serious news headlines, expressive features, readable text, tiny financial listings, info graphics, and everything in between can be capably handled with ease. Designed by Paul Barnes and Christian Schwartz, 2009. Lyon Text: Begun as Kai Bernau's degree project on the Type + Media course at the Royal Academy of Art (KABK) in The Hague, Bernau extensively revised the typeface in time for its debut in the New York Times Magazine in 2009. Like many of the great seriffed typefaces it draws intelligently from the work of Robert Granjon, the master of the Renaissance, while having a contemporary feel. Its elegant looks, are matched with an intelligent, anonymous nature, making it excellent for magazines, book and newspapers. Designed by Kai Bernau, 2009. Neue Haas Grotesk (2011). Stag (+Sans, Dot, Stencil, Sans Round): Stag started as a small family of slab serifs commissioned for headlines by the US edition of Esquire magazine and eventually grew into a sprawling multi-part family including a flexible sans companion and two additional display variants that are probably best described as special effects. Designed by Christian Schwartz, Berton Hasebe and Ross Milne, 2008, 2009. Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type). A revival of Dick Dooijes's Mercator. http://commercialtype.com/typefaces http://www.christianschwartz.com/bio.shtml Последний раз редактировалось planemo; 03.01.2014 в 12:50.. Причина: fixed broken image