Founder · Type Designer · Designer
Type defines voice, shapes perception, and builds trust.
We knew each other a bit before but quickly bonded over shared interests, especially pop music.
It's always been important to us that our type specimens can be read in addition to being looked at.
He's a great designer who does work we love, and we've worked together enough to know he would be able to take our vague but ambitious ideas and synthesize them into something wonderful.
We knew each other a bit before but quickly bonded over shared interests, especially pop music.
It's always been important to us that our type specimens can be read in addition to being looked at.
He's a great designer who does work we love, and we've worked together enough to know he would be able to take our vague but ambitious ideas and synthesize them into something wonderful.
Foundry websites have taken on the role that specimen books used to play for graphic designers.
The best way to experience it is to hold it in your hands, but we definitely worked to make a book that people can enjoy on several different levels.
The initial request was deceptively simple – a light-touch update that retains the essence of the original.
Creative Boom reports that Commercial Type, the acclaimed type foundry behind work for brands like The Guardian and Puma, has launched a new branding studio called Commercial Type Studio. Founded by Christian Schwartz and Paul Barnes with creative director Dino Sanchez, the studio aims to build brand identities rooted in typography. The article explores their philosophy, early projects, and how a type-first approach sets them apart from traditional agencies.
Creative Boom reports on Commercial Type’s new book, 'Double Acts in Pop', a 272-page visual journal combining music and typography. Designed by Chris Wu and written by Molly Lambert, the book showcases the foundry’s entire type library while exploring famous musical duos. The project emphasizes tactile print design and the narrative potential of type specimens.
Commercial Type has released 'Double Acts in Pop', a 272-page visual journal that doubles as a type specimen and a celebration of musical duos. Designed by Chris Wu of Wkshps and written by Molly Lambert, the book showcases the foundry’s entire library of typefaces. Edited by Caren Litherland and printed in Florence, the project highlights the tactile appeal of print in an increasingly digital world.
Commercial Type’s new publication, *Double Acts in Pop*, merges a type specimen with a survey of pop music’s most iconic duos. Designed by Chris Wu of Wkshps and edited by Caren Litherland, the book features writing by Molly Lambert and reflects on the evolution of type specimen culture in the digital age. The project highlights Commercial Type’s catalogue while celebrating the creative synergy of musical partnerships.
Commercial Type has reintroduced the iconic 1970s L’eggs logotype originally designed by Herb Lubalin Associates. Working with Family Office, Cobbco, and Pentagram under the creative direction of Cami Téllez, the team refined the classic mark for a digital-first era while preserving its distinctive character. The project honors the brand’s design heritage through careful typographic adjustments and faithful redrawing.
Pràctica created a refreshed identity for Barcelona-based Tropic Gallery, an eco-conscious family-oriented concept store. The design combines playful, childlike illustrations with organic tones and a custom typographic system using HB Hue and Neue Haas Grotesk. The result balances warmth and sincerity with a lively, approachable aesthetic.
Antwerp-based studio Molden rebranded construction company Gebeiteld, creating a typographic identity inspired by industrial forms. The system uses three contrasting typefaces and a minimal color palette, with yellow referencing the construction industry. Molden collaborated with STUDIO VERGULT to produce 3D visuals documenting Gebeiteld’s projects across Belgium and the Netherlands.
Creative Boom’s article by Tom May highlights 36 fonts expected to trend in 2022, exploring the evolution of typography after the pandemic. It discusses key movements such as retro revivals, sustainability, accessibility, and the rise of custom and variable fonts. Designers and studios share insights on how type design is adapting to inclusivity, technology, and brand differentiation.
Studio von Monkiewitsch created a striking identity for Museum Ludwig’s exhibition ‘Russian Avant-Garde: Original and Fake,’ balancing artistic and scientific themes. The design employs an evidence-table aesthetic, a red cross motif, and the Neue Haas Grotesk typeface to reflect the exhibition’s exploration of authenticity and forgery. The result is a refined, editorial-inspired system that is both conceptual and visually engaging.
BP&O reviews the refreshed visual identity for MoMA by New York-based studio Order. The project updates the museum’s system to be more modular, adaptable, and motion-driven, aligning with MoMA’s 2019 expansion and new seasonal communication approach. The identity builds on Pentagram’s 2009 system, incorporating MoMA Sans by Christian Schwartz and motion design by PepRally.