Designed by Christian Schwartz, Berton Hasebe and Ross Milne, 2008, 2009.Ītlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type). Stag (+Sans, Dot, Stencil, Sans Round): Stag started as a small family of slab serifs commissioned for headlines by the US edition of Esquire magazine and eventually grew into a sprawling multi-part family including a flexible sans companion and two additional display variants that are probably best described as special effects. Its elegant looks, are matched with an intelligent, anonymous nature, making it excellent for magazines, book and newspapers. Like many of the great seriffed typefaces it draws intelligently from the work of Robert Granjon, the master of the Renaissance, while having a contemporary feel. Lyon Text: Begun as Kai Bernau's degree project on the Type + Media course at the Royal Academy of Art (KABK) in The Hague, Bernau extensively revised the typeface in time for its debut in the New York Times Magazine in 2009. Designed by Paul Barnes and Christian Schwartz, 2009. Serious news headlines, expressive features, readable text, tiny financial listings, info graphics, and everything in between can be capably handled with ease. Comprised of several interrelated families: Sans and Egyptian for headlines a Text Egyptian and an Agate Sans, every possible typographic need of a daily paper is fulfilled. Guardian (Egyptian Headline, Sans Headline, Egyptian Text, Agate Sans): What happens when you try to make a new sans serif by chopping the slabs off of an Egyptian? That was the original inspiration behind this modern classic designed for Mark Porter and the Guardian newspaper. Originally designed for the Schwartz's own corporate identity, it was later finished for Condé Nast Portfolio and then expanded for Wallpaper and later T, the New York Times Style Magazine.

Taking cues from the less-known anonymous grotesques and geometric sans serifs, Graphik is perfectly suited for graphic and publication design. Graphik proves that it is still possible to create something refreshing inspired by this era. Graphik: The dominant trend of the mid twentieth century simple sans serifs still reverberates in visual culture. Designed by Christian Schwartz, 2008-2009. Giorgio (+Sans): Giorgio and its matching sans were designed for Chris Martinez at T, the New York Times Style Magazine, bringing runway proportions to the page in contrasting ways. Designed by Paul Barnes and Ilya Ruderman from 2007-2009. Narrow without being overtly condensed, Austin is a modern with the styling and sheen of New York in the 1970s. Working as a trade engraver Austin cut the first British modern and later the iconoclastic Scotch Roman. In house type designers in 2010: Paul Barnes, Christian Schwartz, Berton Haasebe, and Abi Huynh.Īustin (+Cyrillic): Designed for British style magazine Harper's&Queen, Austin is a loose revival of the typefaces of Richard Austin of the late 18th century for the publisher John Bell. In September 2006, Barnes and Schwartz were named two of the 40 most influential designers under 40 in Wallpaper. The team were also nominated for the Design Museum's Designer of the Year prize. Following the redesign of The Guardian, as part of the team headed by Mark Porter, Schwartz and Barnes were awarded the Black Pencil from the D&AD. The company publishes retail fonts developed by Schwartz and Barnes, their staff, and outside collaborators, and also represents the two when they work together on typedesign projects.

Their own blurb: Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, most notably the award winning Guardian Egyptian.

2009 or 2010 by Paul Barnes (London) and Christian Schwartz (New York).

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