paulbarnes   11

Commercial Type: Dala Moa
From the site: “[Paul Barnes’] Dala Moa is a sans serif stencil typeface for display, sharing the proportions of its cousin Dala Floda. It takes the same inspiration — the erosion of letters on stones — but takes the idea one stage further with the removal of serifs, revealing basic structures. The forms and proportions of the romans come directly from Dala Floda, while the italic diverges into the upright humanist tradition. The lighter weights show the influence Jan Tschichold’s stencil experiments of the 1930s, and in particular his lesser-known display face Saskia released by Schelter & Giesecke.”
tn147  typedia  typography  type  typeface  dalamoa  commercial  paulbarnes  stencil  sans  display 
june 2013 by splorp
Reputations: Commercial Type’s Christian Schwartz & Paul Barnes
The complete text of Eye Magazine’s Reputations interview with Commercial type’s Paul Barnes and Christian Schwartz is now available — replete with images and choice quotes from the 14 page article.
tn100  typedia  typography  type  commercial  foundry  paulbarnes  christianschwartz  eye  magazine  article  interview 
july 2012 by splorp
Commercial Type: Publico Banner (Family Extension)
From the site: “Publico Banner was initially designed to meet the needs of magazine designers who found that Publico Headline was not quite sharp enough for enormous display type. Publico Banner offered its designers an opportunity to indulge their love of high-contrast, large x-height, very tightly spaced late 1970s display type. The Ultra weight, in particular, is a loving homage to Tony Stan, Ed Benguiat, Tom Carnase, and others from their generation of American lettering artists and type designers. This family was first seen in 2011 in Dagens Nyheter, Sweden's largest-circulation morning newspaper, and in Mark Porter's 2012 refresh of Portuguese daily Público. Designed by Paul Barnes, Christian Schwartz, and Ross Milne.”
tn96  typedia  typography  type  typeface  commercial  publico  serif  banner  headline  display  paulbarnes  christianschwartz  rossmilne 
june 2012 by splorp
Reputations: Commercial Type
The full text of Simon Esterson and John L. Walters’ recent interview with Commercial Type’s Paul Barnes and Christian Schwartz for Eye Magazine.
tn96  typedia  typography  type  interview  eye  magazine  commercial  paulbarnes  christianschwartz  from instapaper
june 2012 by splorp
Guardian Sans Headline Overview Specimen
This single PDF specimen provides a comprehensive overview of the entire four width range of the recently expanded Guardian Sans Headline family.
commercial  guardian  condensed  typeface  superfamily  narrow  christianschwartz  typedia  type  paulbarnes  bertonhasebe  tn90  headline  typography  sans  specimen  pdf 
april 2012 by splorp
Commercial Type: Three New Widths of Guardian Sans Headline
From the site: “Guardian Sans Headline has undergone a major expansion with the addition of three narrower widths: Narrow, Condensed, and X Condensed. Each is available in 9 weights with italics. Creating a condensed humanist sans serif is often a difficult proposition, as the round and friendly forms have a tendency to look squashed and ungainly. However, the subtle squareness of curves in Guardian Sans Headline allows the new widths to fit in naturally with the original design. This family expansion has been expertly carried out by Commercial Type designer Berton Hasebe, under direction from Paul Barnes and Christian Schwartz, who designed the rest of the family for The Guardian's major redesign in 2005.”
tn90  typedia  typography  type  typeface  commercial  christianschwartz  paulbarnes  bertonhasebe  sans  guardian  headline  condensed  narrow  superfamily 
april 2012 by splorp
Commercial Type: Marian
From the site: “Marian imagines the classics of the typographic canon reinvented for the contemporary world: Garamond, Granjon, van den Keere, Kiš, Fleischmann, Fournier, Baskerville, Bodoni and Austin restyled and revived. These aren’t strict revivals, for they are not accurate recreations, nor are they interpretations per se. Instead they reduce the historical models to their basic skeletal forms. Nine serrifed typefaces and one Blackletter reduced to their basic structure. This reduction strips them to their core, whilst at the same time retaining the life and spirit of the letters. Designed by Paul Barnes.”
tn75  typedia  typography  type  typeface  serif  marian  commercial  hairline  monoline  monolinear  paulbarnes  from instapaper
january 2012 by splorp
Commercial Type: Austin Hairline
From the site: “Originally 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. Available in a single weight that perfectly balances the thick and thin, Austin Hairline pushes the high contrast of the original to new extremes. Drawn by Berton Hasebe for Alex Grossman at WSJ, the weekend fashion and lifestyle magazine of the Wall Street Journal Austin Hairline is intended strictly for use at 100pt and above. Designed by Paul Barnes and Berton Hasebe.”
tn63  typedia  typography  type  typeface  commercial  austin  hairline  serif  paulbarnes  bertonhasebe  contrast  scotch  roman 
october 2011 by splorp

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