Christian Schwartz has partnered with Paul Barnes to form Commercial Type, a new type foundry based in London and New York. Please click here to visit our site. RETAIL FONTS Commercial Type: Austin Duplicate Sans (NEW) Duplicate Slab (NEW) Giorgio Giorgio Sans Graphik Guardian Local Gothic Publico Stag Stag Sans Stag Sans Round Stag Stencil Emigre: Los Feliz Font Bureau: Amplitude Farnham Fritz Pennsylvania FontFont: FF Bau FF Meta Headline FF Meta Serif FF Oxide FF Unit FF Unit Slab House Industries: Casa Latino! Luxury Luxury Text Neutraface Neutraface Condensed Neutraface No. 2 Neutraface Slab Simian Linotype: Neue Haas Grotesk CUSTOM FONTS UNFINISHED WORK EARLY WORK ABOUT     2009. Commissioned by Chris Martinez at T, the New York Times Sunday style magazine. Available directly from Commercial Type and through Village. Of all the typefaces I've drawn, Giorgio was probably one of the most unlikely candidates for expansion, so I was intrigued by Chris Martinez's idea to add a sans to the family. The first iterations slavishly copied the structural quirks of the original, like the rounded legs on K and R and the two-story g with the open bottom bowl, but we discovered that a lot of these odd details could be taken out, making Giorgio Sans better able to stand on its own. The extreme x-height and straight-sided bowls were enough of a connection to keep the two families looking like variations on the same idea. The x-height also helps to differentiate Giorgio Sans from other straight-sided sans serifs. While Giorgio borrowed from Imre Reiner's Corvinus, I was inspired more by French enamel signs and generic American straight-sided sign lettering for Giorgio Sans. Chris wanted to bring some of the strange details from Giorgio into Giorgio Sans, so he could mix the two faces in interesting ways. He also wanted the italic to be a bit more interesting than the sloped roman typically matched with a sans serif, which led to an alternate lowercase with more traditional cursive tails. An early version of the face had a set of perfectly circular alternate round caps, which created really interesting rhythms and textures in lines of copy. These didn't fit into Chris's vision for the year's layouts, but I kept them around for the eventual release. The wide X is borrowed directly from the pre-Vignelli "EXIT" signs in the New York City Subway. The four lighter weights work much like the optical sizes in the original Giorgio, allowing text to be as thin as possible at a full range of point sizes, from enormous headlines down to small bylines. Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, Bold, and Bold Italic.