Commercial Type

Go on, make a sign. Tell them where you're at. Don’t use the bollocks system fonts from the machine that is spying on you. Your words are none of their business. As real as it gets, this Kosmik. letterror.com/kosmik/

Place’s place Full gallery on commercialtype.com/news Photography by Marjorie Ray @commercialtype.bsky.social

Look here: new, actual shapes drawn for actual stones, placed in front of a real building that you can visit in person. The work was achieved without any help of word-guessers! Some things sketched by hand! Non-vibe code for actual trigonometry and so on. #lettering letterror.com/articles/klo...

An optical size for big? Pixels without hinting? Ligatures that are not really ligatures? Nothing is ever what it seems in type (but everything does its job and you didn’t even notice!) Action Grotesque: platform independent, private equity free. At Commercial Type commercialtype.com/catalog/acti...

We love this use of @letterror.bsky.social's Action Grotesque, on the updated website for the TypeMedia program at the KABK in the Hague: typemedia.org It's particularly great for dense, complicated pages like this: typemedia.org/noordzij/bib...

Leave graphic design to the designers, I know, so this is as far as I will go. Complex typography in small and big, Action Grotesque is readable at ever size.

Fast work 💪 by this year's graduates: the typeMedia 2026 gallery website is up. All the projects, process, sketches and gorgeous typefaces✨ The graduation exhibition is open until Tuesday 🎉 #typefaces #fonts #kabk #typedesign #typemedia #newwork #gradshow 2026.typemedia.org

Action Grotesque is a variable-first, reading-first sans serif that continues Erik van Blokland’s exploration of type created in and for the environments where it is most likely to find itself today: screens. Read more: commercialtype.com/catalog/acti...

#Eye110 – sneak peek … from the gutter.

Staff designer Thomas Bouillet spoke at the most recent BITS conference in Bangkok about his upcoming typeface Implicit, and the interplay between materiality and optical size. www.youtube.com/watch?v=iSBj...

Nice use of Darby Serif and Darby Sans!

Read more about Delusse in the newsletter by @lither.land, with showings designed by Vance Wellenstein: commercialtype.com/newsletters/... Or have a look at the detailed PDF specimen: commercialtype.com/uploads/1025... Or download free trial fonts: commercialtype.com/catalog/delu...

New release by Sandrine Nugue: Delusse, a spiky-soft response to Vendôme, one of the most iconic French typefaces of the twentieth century. commercialtype.com/catalog/delu...

Spines for No Guts, No Glory: Celebrating Five Years of The David Prize, 2024 📚 Thank you to The David Prize, Erika Augustine, and Gina Fuchs 💛💛 Fonts by @commercialtype.bsky.social, printed and bound by Allied Printing

Happy 10th anniversary to @letterformarchive.org! Julien @boogypaper.bsky.social and I are proud to have contributed to this along with many colleagues and friends.

James Mosely's series of lectures on the history of letterforms were delivered every year to students in the Department of Typography and Graphic Communication at the University of Reading. These were recorded in 2020-21, and are now available for everyone to watch: www.youtube.com/playlist?lis...

New work: a fresh new nameplate for @torontolifemag.bsky.social, drawn by Julien Priez @boogypaper.bsky.social for design director Colleen Nicholson. commercialtype.com/custom/toron...

I'm laying out Gun Magic Techno Pop in Focal and it's such a blast to work with. I wish phototypesetting had still been in use when I began my career, I would have eaten that shit up. Focal designed by @greggazdowicz.bsky.social, available from @commercialtype.bsky.social

This was a fun project to help out on. Miguel Reyes redrew the logotype, and Control is used throughout the identity, including an early version of Control Compressed.

Jim Parkinson was a kind and gentle soul, in addition to being unbelievably talented. He will be missed.

Please take this survey and help the Fontstand Cooperative figure out how font licensing needs have evolved.

See Royal Gothic here: commercialtype.com/catalog/roya... Read Paul Barnes's essay on the family here: commercialtype.com/about/collec...

NEW RELEASE! Royal Gothic by @paul-barnes.bsky.social, with help from Luke Charsley and Tim Ripper, comes out of the Vault with a full range of seven weights. Starting from a single bold weight, and folding in influences from the US and Germany, it preserves the quirks of early squarish sans serifs.

We have some case studies from the Commercial Type Design Studio here, with more to come: commercialtype.com/design

Though Commercial Studio didn't survive 2020, we regrouped and have rebuilt our corporate identity studio within Commercial Type, under the direction of Dino Sanchez. This has quietly been going on alongside our other work for the past couple of years, and now we're taking a moment to talk about it.

New in our news section, Caren @lither.land interviewed Shiva Nallaperumal about Delegate, how he came to type design, and the studio November that he runs jointly with Juhi Vishani: commercialtype.com/news/shiva_n...

New in the Vault: Caslon Ionic Rounded, adapted from Caslon Ionic by @greggazdowicz.bsky.social vault.commercialtype.com

Lovely use of Orleans ↓

New in the Vault: Jargon, a condensed headline typeface with a giant x-height by Thomas Bouillet. vault.commercialtype.com

Type Today also recently published an excellent interview with @letterror.bsky.social by Ilya Ruderman: type.today/en/journal/e...

Great interview with @boogypaper.bsky.social by Adelina Shaidullina for Type Today: type.today/en/journal/j...

Congratulations to Lisa Huang and the whole team behind @wordsoftype.com on today's beta launch! This is already a great resource and is going to keep getting better. wiki.wordsoftype.com/

Double Acts in Pop is now shipping! Its Nice That has a writeup today: www.itsnicethat.com/articles/com... commercialtype.com/goods/double...

Take a closer look at Place by @boogypaper.bsky.social in the PDF specimen: commercialtype.com/uploads/1224...

One of the unused Kafka covers where Williamson Italic was first intended to appear, thanks to David Pearson.