Christian Schwartz has partnered with Paul Barnes to form Commercial Type, a new type foundry based in London and New York. Please click here to visit our site.
Commercial Type:
Austin Duplicate Sans (NEW) Duplicate Slab (NEW) Giorgio Giorgio Sans Graphik Guardian Local Gothic Publico Stag Stag Sans Stag Sans Round Stag Stencil
Los Feliz
Font Bureau:
Amplitude Farnham Fritz Pennsylvania
FF Bau FF Meta Headline FF Meta Serif FF Oxide FF Unit FF Unit Slab
House Industries:
Casa Latino! Luxury Luxury Text Neutraface Neutraface Condensed Neutraface No. 2 Neutraface Slab Simian
Neue Haas Grotesk

2005-2008. Commissioned by David Curcurito and Darhil Crooks at Esquire. Thin Dot and Bold Dot commissioned by Benjamen Purvis at Las Vegas Weekly. Available directly from Commercial Type and through Village.

Esquire contacted me in the summer of 2005 about drawing a new slab serif for bolder, more forceful headlines. They had been using Hoefler & Frere-Jones's sharply elegant Mercury for several years, and decided it was time to add an additional element to their typographic palette. I showed them a range of slab serifs produced by French and German foundries around 1900-1940, and synthesized elements from several of them (notably Beton, Peignot's Egyptienne Noir, Georg Trump's Schadow, and Scarab) into a new face with a very large x-height, extremely short ascenders and descenders, and tight spacing, for a compact, contemporary look. It was hard at first to keep it away from Guardian Egyptian, which I had finished work on only a month earlier, but I think it evolved into its own thing. Since it was going to be set in short, large blocks of text, we decided that it was important to make the spaces between the characters as interesting to look at as the space inside the characters, which is why the bracketing is only applied on the outside. I couldn't figure out how to make this work on the Thin without having weird spots of extra weight, so I decided to turn that into one of the defining features of the face, rather than forcing it to be another bland hairline face. This was the only project I've ever done where the client kept pushing me to make the face weirder and weirder, which made working with them a lot of fun. In 2008, after many requests, I added three new weights in order to match the full range of weights offered in Stag Sans. I hope this will give this eccentric family some more flexibility.

At the end of 2006 and beginning of 2008, Benjamen Purvis at alternative newspaper Las Vegas Weekly commissioned some additional styles made of dots, to add a bit of Vegas flavor to his redesign. The Bold Dot follows a strict grid, while the Thin Dot breaks the grid in order to keep its distinct personality.

Thin, Thin Italic, Light, Light Italic, Book, Book Italic, Medium, Medium Italic, Semibold, Semibold Italic, Bold, Bold Italic, Black, and Black Italic, plus Thin Dot and Bold Dot.

All styles include an extensive set of ligatures. All styles except Thin Dot and Bold Dot include case-specific punctuation, fractions, CE and EU3 accented characters, and titling caps with lowered accents. Light, Book, Medium, Semibold, and Bold weights include tabular figures. Bold Dot is caps-only with limited punctuation.