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commercialtype.bsky.social
Commercial Type
@commercialtype.bsky.social
900 followers 100 following 39 posts
Type foundry in New York and London.

commercialtype.com
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commercialtype.bsky.social
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...
The complete Delusse family, with the name of each style set in its respective typeface.
October 20, 2025 at 3:01 PM
commercialtype.bsky.social
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...
JE NE SAIS QUOI in Delusse Regular A block of text in Delusse Regular and Regular Italic A block of text in Delusse Black "Prêt-à-Porter" in Delusse Regular Italic
October 20, 2025 at 2:57 PM
commercialtype.bsky.social
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...
Toronto Life cover from August 2025. REVENGE OF THE COTTAGERS is the main headline. Toronto Life cover from June 2025. Best New Restaurants 2025 is the main headline.
September 25, 2025 at 6:43 PM
commercialtype.bsky.social
See Royal Gothic here:
commercialtype.com/catalog/roya...

Read Paul Barnes's essay on the family here:
commercialtype.com/about/collec...
Text in Royal Gothic Bold Royal Gothic in Steven Shanks & Co Type Foundry specimen from the 1870s
May 13, 2025 at 7:34 PM
commercialtype.bsky.social
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.
Text in Royal Gothic Black Text in Royal Gothic Light Full range of 14 styles in Royal Gothic family, in order of weight. Interior spread from "Happy Gas", a monograph on artist Sarah Lucas, designed by Fraser Muggeridge.
May 13, 2025 at 7:32 PM
commercialtype.bsky.social
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...
AFTONBLADET nameplate in yellow with a black shadow on a red background Two variations on the SPORTBLADET logotype in yellow with a black shadow on a pink background
April 23, 2025 at 3:18 PM
commercialtype.bsky.social
This was the reference. The R is really something.
1975 poster for A Chorus Line
April 14, 2025 at 1:53 PM
commercialtype.bsky.social
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.
April 14, 2025 at 1:51 PM
commercialtype.bsky.social
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...
Pullquote from an interview with Shiva Nallaperumal: "I've always oscillated between type and graphic design. I love the rigor and craft of the former and the conceptual side of the latter." Typeset in Delegate Bold
March 10, 2025 at 2:23 PM
commercialtype.bsky.social
New in the Vault: Caslon Ionic Rounded, adapted from Caslon Ionic by @greggazdowicz.bsky.social

vault.commercialtype.com
Caslon Ionic Rounded (Bold) There are certain visual motifs we keep coming back to. Stencils are great. We never get tired of swashes. And we love soft letterforms. (Caslon Ionic Rounded Light) Softness adds warmth and charm. (Caslon Ionic Rounded Extrabold) Greg Gazdowicz has spent the last few years exploring various aspects of softness in type: in contrast with sharpness, in Terza; as an artefact of production processes, in Focal; and now the transformative properties of softness when applied to a historical genre — the Ionic — known for its solidity. (Caslon Ionic Rounded Medium Italic)
March 4, 2025 at 2:52 PM
commercialtype.bsky.social
New in the Vault: Jargon, a condensed headline typeface with a giant x-height by Thomas Bouillet.

vault.commercialtype.com
Jargon in Jargon Black Jargon is a gently flared headline typeface by Thomas Bouillet, with newsy proportions and an elegant finish. in Jargon Thin The uprights have some Dutch influence—not surprising, since Jargon started as a small part of Thomas’s degree project at the Type]Media program in the Hague—while the italics reference Roger Excoffon & François Ganeau’s stylish sloped romans for Vendôme. in Jargon Bold and Bold Italic Its extreme x-height is well-suited to Posters and Book Covers. in Jargon Ultra
February 5, 2025 at 2:17 PM
commercialtype.bsky.social
Take a closer look at Place by @boogypaper.bsky.social in the PDF specimen:
commercialtype.com/uploads/1224...
Cover page of the PDF specimen for Place, with a short description of the family. Place is a beautiful typeface. Its beauty is supported by the rigorous craft and thinking that French calligrapher and type designer Julien Priez put into its creation. Two full sets of capitals, offering both Latin and blackletter structures, also make the family an indispensable tool for logotypes. Typeset any word in Place—chances are it will look like a logo. Relatively low stroke contrast expands the range of sizes at which Place can be used, and defies the cliché that a typeface needs to have high contrast to be elegant. Though its display qualities are obvious, its ability to serve as a supporting player should not be overlooked. Its four weights enable complex typography, allowing things like headers, footers, page furniture, and other utilitarian nagivational elements set in Place to be functional and poetic at the same time.
December 18, 2024 at 7:33 PM
commercialtype.bsky.social
Place is a beautiful typeface. That is its main function. Its beauty is supported by the rigorous craft and thinking that went into its creation. We can't wait to see what people do with it.
16 styles of Place, showing the standard and Extra styles side by side.
December 16, 2024 at 2:59 PM
commercialtype.bsky.social
Julien found much of his inspiration in the written forms of the 15th–17th centuries. Intepreted though his own hand, the forms feel unexpected and bracingly new. Read about his process here:

commercialtype.com/about/collec...
Practise sheet written by Julien Priez early in the process of designing Place upright. Practise sheet written by Julien Priez showing the development of Place Italic Practise sheet written by Julien Priez exploring blackletter capital forms, and how they would interact with the lower case Practise sheet written by Julien Priez exploring potential forms for the blackletter italic ampersand
December 16, 2024 at 2:59 PM
commercialtype.bsky.social
The stroke contrast is relatively low, allowing Place equally to be the main focus or a suppoorting player. Its four weights enable complex typography, allowing things like headers, footers, page furniture, and other utilitarian navigational elements to be functional and poetic at the same time.
Sonnet 36,127,693,221,580 by Raymond Queneau (1903–1976), lines 1-7 C’était à cinq o’clock qu’il sortait la marquise pour la mettre à sécher aux cornes des taureaux une toge il portait qui n’était pas de mise elle soufflait bien fort par dessus les côteaux Le cheval Parthénon frissonnait sous la bise d’où Galilée jadis jeta ses petits pots le gourmet en salade avale la cytise At five o’clock he rests in his marquise and sleeves are wrapped round horns of buffalo he wore his toga like an old chemise across the hillocks comes a steady blow The Parthenon horse is shivering in the biz where Galileo once took pots to throw mixing broom with chives shows expertise Sonnet 36,127,693,221,580 by Raymond Queneau (1903–1976), lines 8-14 la mite a grignoté tissus os et rideaux Le généalogiste observe leur bouillotte le touriste à Florence ignoble charibotte lorsqu’on revient au port en essuyant un grain Sa sculpture est illustre et dans le fond des coques frère je t’absoudrai si tu m’emberlucoques toute chose pourtant doit avoir une fin with moth and rust we settle all we owe The genealogist finds every blot in Florence tourists see a deal of grot while coming home we find the wind turned mean Its famous sculptures founder on a rock I quite forgive you when you run amok clear from the start the ending is foreseen
December 16, 2024 at 2:59 PM
commercialtype.bsky.social
New release! Announcing Place, a wide and beautiful serif display typefaces for all sizes by the brilliant type designer and calligrapher Julien Priez. Place offers both Latin and blackletter capitals, giving it a particular skill for creating logotypes.

commercialtype.com/catalog/place
IN THE RIGHT PLACE in Place Bold and Bold Extra HIDING PLACE in Place Light Italic and Light Italic Extra There's a time and a Place in Place Regular and Regular Italic A listing of all sixteen styles in the Place family
December 16, 2024 at 2:59 PM
commercialtype.bsky.social
One of the unused Kafka covers where Williamson Italic was first intended to appear, thanks to David Pearson.
A grey book cover with a large black figure sitting on the ground with its head in its arms on its knees. Small text in the center of the figure reads "Franz Kafka The Metamorphosis"
December 6, 2024 at 8:58 PM
commercialtype.bsky.social
New in the Vault! Williamson Italic, a one-off display italic by Paul Barnes.

vault.commercialtype.com
Williamson Italic Williamson Italic is a distinctive display typeface drawn by Paul Barnes, originally crafted for a series of Franz Kafka book covers that never happened. Williamson Italic draws inspiration from Paul’s own lettering, blending influences from Eastern European design, Berthold Wolpe’s lesser-known Hyperion, and the stone-carving traditions of western Scotland. Its condensed form, with a subtle 6° angle, features robust slab serifs and a dynamic tension between rounded curves and sharp joints. Alternates for ascender serifs and the distinctive f and t give additional variety. Drawn in a single weight, Williamson Italic is ideal for book covers, menus, and logos, offering a striking and versatile aesthetic. vault.commercialtype.com
December 3, 2024 at 2:55 PM
commercialtype.bsky.social
Congratulations to Commercial Type partner Paul Barnes, who has just been elected a member of the Alliance Graphique Internationale (AGI).

Formed in 1952, the AGI is the most prestigious graphic design organisation in the world, with over 540 members in 47 countries all chosen by their peers.
November 15, 2024 at 1:47 PM
commercialtype.bsky.social
Paul is speaking at the National Library of Ireland tomorrow as part of Design Week in Dublin. Free admission!

More details here:
www.nli.ie/exhibitions-...
White text on a blue background: “Then and Now: Letters in the Library”
November 15, 2024 at 2:51 AM
commercialtype.bsky.social
Preorders are open for our new type specimen "Double Acts in Pop: An Incomplete Survey", written by Molly Lambert and designed by Chris Wu at Wkshps.

commercialtype.com/goods/double...
Two copies of "Double Acts in Pop" on a red table next to a classical sculpture of a bust. Spread from "Double Acts in Pop", showing Canela Spread from "Double Acts in Pop", showing Canela Spread from "Double Acts in Pop", showing Robinson and Ergon
November 13, 2024 at 7:50 PM