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...

NEW RELEASE! Action Grotesque, designed by from Erik van Blokland @letterror.bsky.social is a variable-first, reading-first sans serif designed first and foremost for use on screen. 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...

An Implicit Typeface | BITS11

YouTube video by Cadson Demak

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New newsletter out today, wrapping up the year that was: commercialtype.com/newsletters/...

Nice use of Darby Serif and Darby Sans!

Irina Koryagina@irinak.bsky.social · 10mo ago

Brand architecture and brand identity systems for @barrons.com financial advisor conference series, 2021 📊 Big thanks to Barron’s creative director Alex Dousie and art director Sandy Ng for the commission, and to Barron’s in-house team for implementation irinakoryagina.com/barronsevents/

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.

Letterform Archive@letterformarchive.org · 10mo ago

To celebrate our 10th anniversary, Letterform Archive partnered with the San Francisco office of COLLINS on 100 Tens — 50 “1”s from the Archive’s collection paired with 50 new works from a range of today’s leading designers. #LetterformArchive #100Tens

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...

James Mosley's History of Letterforms - YouTube

James Mosley’s lectures on the history of letterforms were delivered in the Department of Typography & Graphic Communication over many years. They represent ...

youtube.com

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.

It's Nice That@its-nice-that.bsky.social · last yr.

Richard Turley gives Air’s identity space to breathe through simplicity and parody > buff.ly/2L3T0or

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

Typographica@typographica.org · last yr.

Jim Parkinson died today. He was a prolific and astoundingly gifted lettering artist, type designer, and painter. I feel lucky to say he was also my friend. typographica.org/on-typograph...

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

Fontstand@fontstand.com · last yr.

We’re are launching an independent industry-wide survey for font users. We want to hear about your experiences: What works? What’s confusing or frustrating? What would you change? Your answers will help us decide how licensing works within the Fontstand Cooperative. fontstand.com/survey

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.

New work: Greg Gazdowicz and Christian Schwartz drew a new nameplate for Swedish news outlet Aftonbladet, directed by Anna Thurfjell. Read our case study here: commercialtype.com/custom/namep... More about the thinking here: annathurfjell.com/work/brand-r...

New work for New York Magazine's annual Yesteryear issue. commercialtype.com/news/ny_mag_... We recreated the lettering on the 1975 poster for A Chorus Line for design director Tom Alberty and his team.

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.

Creative Boom@creativeboom.com · last yr.

How a type foundry started a brand studio (and why it makes perfect sense) 👀 www.creativeboom.com/insight/how-...

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 ↓

Jack Smyth@jackflag.bsky.social · 2y ago

Cover for Tenterhooks by Claire-Lise Kieffer. Out now, published by Banshee Press. Type by @commercialtype.bsky.social

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...

Erik van Blokland: “Drawing is thinking”

type.today

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

Julien Priez: “Legibility is a spectrum”

type.today