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Commercial Type
Upcoming releases, our type in use, and stuff we find interesting. See @commercialtype_studio for more custom type, logos, and identity work.
NEW FONT ALERT! 🚨 The all new Canela Arabic font family is released!
—
The family expands the crisp elegance of Miguel Reyes’s Canela by drawing inspiration from both the Thuluth and Naskh traditions. While reflecting the sobriety and refinement of its Latin counterpart, the Arabic version has a distinct and expressive presence of its own.
—
يستلهم هذا الخط العربي من تقاليد الثلث والنسخ، ليُنتج صوتًًا طباعيًا يجمع بين الأناقة والجلال
—
Arabic type design: @khajag @waelmorcos
Latin Typeface: @font_taste
Available: @commercialtype
Social Media graphics: @jadzock
NEW FONT ALERT! 🚨 The all new Canela Arabic font family is released!
—
The family expands the crisp elegance of Miguel Reyes’s Canela by drawing inspiration from both the Thuluth and Naskh traditions. While reflecting the sobriety and refinement of its Latin counterpart, the Arabic version has a distinct and expressive presence of its own.
—
يستلهم هذا الخط العربي من تقاليد الثلث والنسخ، ليُنتج صوتًًا طباعيًا يجمع بين الأناقة والجلال
—
Arabic type design: @khajag @waelmorcos
Latin Typeface: @font_taste
Available: @commercialtype
Social Media graphics: @jadzock
NEW FONT ALERT! 🚨 The all new Canela Arabic font family is released!
—
The family expands the crisp elegance of Miguel Reyes’s Canela by drawing inspiration from both the Thuluth and Naskh traditions. While reflecting the sobriety and refinement of its Latin counterpart, the Arabic version has a distinct and expressive presence of its own.
—
يستلهم هذا الخط العربي من تقاليد الثلث والنسخ، ليُنتج صوتًًا طباعيًا يجمع بين الأناقة والجلال
—
Arabic type design: @khajag @waelmorcos
Latin Typeface: @font_taste
Available: @commercialtype
Social Media graphics: @jadzock
NEW FONT ALERT! 🚨 The all new Canela Arabic font family is released!
—
The family expands the crisp elegance of Miguel Reyes’s Canela by drawing inspiration from both the Thuluth and Naskh traditions. While reflecting the sobriety and refinement of its Latin counterpart, the Arabic version has a distinct and expressive presence of its own.
—
يستلهم هذا الخط العربي من تقاليد الثلث والنسخ، ليُنتج صوتًًا طباعيًا يجمع بين الأناقة والجلال
—
Arabic type design: @khajag @waelmorcos
Latin Typeface: @font_taste
Available: @commercialtype
Social Media graphics: @jadzock
NEW FONT ALERT! 🚨 The all new Canela Arabic font family is released!
—
The family expands the crisp elegance of Miguel Reyes’s Canela by drawing inspiration from both the Thuluth and Naskh traditions. While reflecting the sobriety and refinement of its Latin counterpart, the Arabic version has a distinct and expressive presence of its own.
—
يستلهم هذا الخط العربي من تقاليد الثلث والنسخ، ليُنتج صوتًًا طباعيًا يجمع بين الأناقة والجلال
—
Arabic type design: @khajag @waelmorcos
Latin Typeface: @font_taste
Available: @commercialtype
Social Media graphics: @jadzock
NEW FONT ALERT! 🚨 The all new Canela Arabic font family is released!
—
The family expands the crisp elegance of Miguel Reyes’s Canela by drawing inspiration from both the Thuluth and Naskh traditions. While reflecting the sobriety and refinement of its Latin counterpart, the Arabic version has a distinct and expressive presence of its own.
—
يستلهم هذا الخط العربي من تقاليد الثلث والنسخ، ليُنتج صوتًًا طباعيًا يجمع بين الأناقة والجلال
—
Arabic type design: @khajag @waelmorcos
Latin Typeface: @font_taste
Available: @commercialtype
Social Media graphics: @jadzock
NEW FONT ALERT! 🚨 The all new Canela Arabic font family is released!
—
The family expands the crisp elegance of Miguel Reyes’s Canela by drawing inspiration from both the Thuluth and Naskh traditions. While reflecting the sobriety and refinement of its Latin counterpart, the Arabic version has a distinct and expressive presence of its own.
—
يستلهم هذا الخط العربي من تقاليد الثلث والنسخ، ليُنتج صوتًًا طباعيًا يجمع بين الأناقة والجلال
—
Arabic type design: @khajag @waelmorcos
Latin Typeface: @font_taste
Available: @commercialtype
Social Media graphics: @jadzock
Great Dames - kicking off the new look ‘O’ magazine
Art director: @c_ll_ct_v_ly
Picture Editor: @agentortiz
Photographer: @felicitymccabe
Fashion editors: @jojones_fashion
Fashion assistant: @samdeaman
Set stylist @victwyman
Post-production: Matt Ransom at Invisible Inc
Photography assistant: @gordonstabbins / Euan Crawford / Henry Butterworth
Editor: Alex Moshakis
Interviews: @lilymayai
Typography: Mrs Holyle @mariofeliciano Caslon Ionic @commercialtype
See @obsmagazine for detailed credits
Great Dames - kicking off the new look ‘O’ magazine
Art director: @c_ll_ct_v_ly
Picture Editor: @agentortiz
Photographer: @felicitymccabe
Fashion editors: @jojones_fashion
Fashion assistant: @samdeaman
Set stylist @victwyman
Post-production: Matt Ransom at Invisible Inc
Photography assistant: @gordonstabbins / Euan Crawford / Henry Butterworth
Editor: Alex Moshakis
Interviews: @lilymayai
Typography: Mrs Holyle @mariofeliciano Caslon Ionic @commercialtype
See @obsmagazine for detailed credits
Great Dames - kicking off the new look ‘O’ magazine
Art director: @c_ll_ct_v_ly
Picture Editor: @agentortiz
Photographer: @felicitymccabe
Fashion editors: @jojones_fashion
Fashion assistant: @samdeaman
Set stylist @victwyman
Post-production: Matt Ransom at Invisible Inc
Photography assistant: @gordonstabbins / Euan Crawford / Henry Butterworth
Editor: Alex Moshakis
Interviews: @lilymayai
Typography: Mrs Holyle @mariofeliciano Caslon Ionic @commercialtype
See @obsmagazine for detailed credits
Great Dames - kicking off the new look ‘O’ magazine
Art director: @c_ll_ct_v_ly
Picture Editor: @agentortiz
Photographer: @felicitymccabe
Fashion editors: @jojones_fashion
Fashion assistant: @samdeaman
Set stylist @victwyman
Post-production: Matt Ransom at Invisible Inc
Photography assistant: @gordonstabbins / Euan Crawford / Henry Butterworth
Editor: Alex Moshakis
Interviews: @lilymayai
Typography: Mrs Holyle @mariofeliciano Caslon Ionic @commercialtype
See @obsmagazine for detailed credits
Great Dames - kicking off the new look ‘O’ magazine
Art director: @c_ll_ct_v_ly
Picture Editor: @agentortiz
Photographer: @felicitymccabe
Fashion editors: @jojones_fashion
Fashion assistant: @samdeaman
Set stylist @victwyman
Post-production: Matt Ransom at Invisible Inc
Photography assistant: @gordonstabbins / Euan Crawford / Henry Butterworth
Editor: Alex Moshakis
Interviews: @lilymayai
Typography: Mrs Holyle @mariofeliciano Caslon Ionic @commercialtype
See @obsmagazine for detailed credits
Great Dames - kicking off the new look ‘O’ magazine
Art director: @c_ll_ct_v_ly
Picture Editor: @agentortiz
Photographer: @felicitymccabe
Fashion editors: @jojones_fashion
Fashion assistant: @samdeaman
Set stylist @victwyman
Post-production: Matt Ransom at Invisible Inc
Photography assistant: @gordonstabbins / Euan Crawford / Henry Butterworth
Editor: Alex Moshakis
Interviews: @lilymayai
Typography: Mrs Holyle @mariofeliciano Caslon Ionic @commercialtype
See @obsmagazine for detailed credits
Great Dames - kicking off the new look ‘O’ magazine
Art director: @c_ll_ct_v_ly
Picture Editor: @agentortiz
Photographer: @felicitymccabe
Fashion editors: @jojones_fashion
Fashion assistant: @samdeaman
Set stylist @victwyman
Post-production: Matt Ransom at Invisible Inc
Photography assistant: @gordonstabbins / Euan Crawford / Henry Butterworth
Editor: Alex Moshakis
Interviews: @lilymayai
Typography: Mrs Holyle @mariofeliciano Caslon Ionic @commercialtype
See @obsmagazine for detailed credits
Great Dames - kicking off the new look ‘O’ magazine
Art director: @c_ll_ct_v_ly
Picture Editor: @agentortiz
Photographer: @felicitymccabe
Fashion editors: @jojones_fashion
Fashion assistant: @samdeaman
Set stylist @victwyman
Post-production: Matt Ransom at Invisible Inc
Photography assistant: @gordonstabbins / Euan Crawford / Henry Butterworth
Editor: Alex Moshakis
Interviews: @lilymayai
Typography: Mrs Holyle @mariofeliciano Caslon Ionic @commercialtype
See @obsmagazine for detailed credits
Great Dames - kicking off the new look ‘O’ magazine
Art director: @c_ll_ct_v_ly
Picture Editor: @agentortiz
Photographer: @felicitymccabe
Fashion editors: @jojones_fashion
Fashion assistant: @samdeaman
Set stylist @victwyman
Post-production: Matt Ransom at Invisible Inc
Photography assistant: @gordonstabbins / Euan Crawford / Henry Butterworth
Editor: Alex Moshakis
Interviews: @lilymayai
Typography: Mrs Holyle @mariofeliciano Caslon Ionic @commercialtype
See @obsmagazine for detailed credits
Great Dames - kicking off the new look ‘O’ magazine
Art director: @c_ll_ct_v_ly
Picture Editor: @agentortiz
Photographer: @felicitymccabe
Fashion editors: @jojones_fashion
Fashion assistant: @samdeaman
Set stylist @victwyman
Post-production: Matt Ransom at Invisible Inc
Photography assistant: @gordonstabbins / Euan Crawford / Henry Butterworth
Editor: Alex Moshakis
Interviews: @lilymayai
Typography: Mrs Holyle @mariofeliciano Caslon Ionic @commercialtype
See @obsmagazine for detailed credits
Italic Delusse has been a playful experience in relation with roman and to disconnect it to the reference of Vendôme.
With more precise words by Caren @litherland :
« Another important way Delusse departs from Vendôme is in the italic. Vendôme’s “italic” is in fact an oblique roman, a particularly twentieth-century conceit. Nugue gives us a real italic, albeit somewhat romanized, with sharp serifs prevailing over more traditional cursive forms in spots. Because we tend to use italics less frequently than uprights, the italic can be a fantastic playground for experimentation, and Nugue takes full advantage of this. Pointed, capuchin-like hoods on a and q add a wonderful, offbeat texture; it’s a move that recurs in other Nugue faces as well. The italic k with its triangular top serif and ribbonlike looped bowl nods to the Garamond italics we may be more familiar with—but that’s pretty much the only way it resembles a classic Garamond. At first glance, especially in the Regular weight, you might not think of Delusse’s italic as reverse-contrast. It sneaks up on you. As weight and contrast increase, you become aware of just how fully bonkers this italic is. Look at the countershapes. Look at the intuitive, astonishing way Nugue swings the weight around. »
Delusse is released by @commercialtype with the assistance of Thomas Bouillet
Italic Delusse has been a playful experience in relation with roman and to disconnect it to the reference of Vendôme.
With more precise words by Caren @litherland :
« Another important way Delusse departs from Vendôme is in the italic. Vendôme’s “italic” is in fact an oblique roman, a particularly twentieth-century conceit. Nugue gives us a real italic, albeit somewhat romanized, with sharp serifs prevailing over more traditional cursive forms in spots. Because we tend to use italics less frequently than uprights, the italic can be a fantastic playground for experimentation, and Nugue takes full advantage of this. Pointed, capuchin-like hoods on a and q add a wonderful, offbeat texture; it’s a move that recurs in other Nugue faces as well. The italic k with its triangular top serif and ribbonlike looped bowl nods to the Garamond italics we may be more familiar with—but that’s pretty much the only way it resembles a classic Garamond. At first glance, especially in the Regular weight, you might not think of Delusse’s italic as reverse-contrast. It sneaks up on you. As weight and contrast increase, you become aware of just how fully bonkers this italic is. Look at the countershapes. Look at the intuitive, astonishing way Nugue swings the weight around. »
Delusse is released by @commercialtype with the assistance of Thomas Bouillet
Italic Delusse has been a playful experience in relation with roman and to disconnect it to the reference of Vendôme.
With more precise words by Caren @litherland :
« Another important way Delusse departs from Vendôme is in the italic. Vendôme’s “italic” is in fact an oblique roman, a particularly twentieth-century conceit. Nugue gives us a real italic, albeit somewhat romanized, with sharp serifs prevailing over more traditional cursive forms in spots. Because we tend to use italics less frequently than uprights, the italic can be a fantastic playground for experimentation, and Nugue takes full advantage of this. Pointed, capuchin-like hoods on a and q add a wonderful, offbeat texture; it’s a move that recurs in other Nugue faces as well. The italic k with its triangular top serif and ribbonlike looped bowl nods to the Garamond italics we may be more familiar with—but that’s pretty much the only way it resembles a classic Garamond. At first glance, especially in the Regular weight, you might not think of Delusse’s italic as reverse-contrast. It sneaks up on you. As weight and contrast increase, you become aware of just how fully bonkers this italic is. Look at the countershapes. Look at the intuitive, astonishing way Nugue swings the weight around. »
Delusse is released by @commercialtype with the assistance of Thomas Bouillet
Italic Delusse has been a playful experience in relation with roman and to disconnect it to the reference of Vendôme.
With more precise words by Caren @litherland :
« Another important way Delusse departs from Vendôme is in the italic. Vendôme’s “italic” is in fact an oblique roman, a particularly twentieth-century conceit. Nugue gives us a real italic, albeit somewhat romanized, with sharp serifs prevailing over more traditional cursive forms in spots. Because we tend to use italics less frequently than uprights, the italic can be a fantastic playground for experimentation, and Nugue takes full advantage of this. Pointed, capuchin-like hoods on a and q add a wonderful, offbeat texture; it’s a move that recurs in other Nugue faces as well. The italic k with its triangular top serif and ribbonlike looped bowl nods to the Garamond italics we may be more familiar with—but that’s pretty much the only way it resembles a classic Garamond. At first glance, especially in the Regular weight, you might not think of Delusse’s italic as reverse-contrast. It sneaks up on you. As weight and contrast increase, you become aware of just how fully bonkers this italic is. Look at the countershapes. Look at the intuitive, astonishing way Nugue swings the weight around. »
Delusse is released by @commercialtype with the assistance of Thomas Bouillet
Italic Delusse has been a playful experience in relation with roman and to disconnect it to the reference of Vendôme.
With more precise words by Caren @litherland :
« Another important way Delusse departs from Vendôme is in the italic. Vendôme’s “italic” is in fact an oblique roman, a particularly twentieth-century conceit. Nugue gives us a real italic, albeit somewhat romanized, with sharp serifs prevailing over more traditional cursive forms in spots. Because we tend to use italics less frequently than uprights, the italic can be a fantastic playground for experimentation, and Nugue takes full advantage of this. Pointed, capuchin-like hoods on a and q add a wonderful, offbeat texture; it’s a move that recurs in other Nugue faces as well. The italic k with its triangular top serif and ribbonlike looped bowl nods to the Garamond italics we may be more familiar with—but that’s pretty much the only way it resembles a classic Garamond. At first glance, especially in the Regular weight, you might not think of Delusse’s italic as reverse-contrast. It sneaks up on you. As weight and contrast increase, you become aware of just how fully bonkers this italic is. Look at the countershapes. Look at the intuitive, astonishing way Nugue swings the weight around. »
Delusse is released by @commercialtype with the assistance of Thomas Bouillet
Italic Delusse has been a playful experience in relation with roman and to disconnect it to the reference of Vendôme.
With more precise words by Caren @litherland :
« Another important way Delusse departs from Vendôme is in the italic. Vendôme’s “italic” is in fact an oblique roman, a particularly twentieth-century conceit. Nugue gives us a real italic, albeit somewhat romanized, with sharp serifs prevailing over more traditional cursive forms in spots. Because we tend to use italics less frequently than uprights, the italic can be a fantastic playground for experimentation, and Nugue takes full advantage of this. Pointed, capuchin-like hoods on a and q add a wonderful, offbeat texture; it’s a move that recurs in other Nugue faces as well. The italic k with its triangular top serif and ribbonlike looped bowl nods to the Garamond italics we may be more familiar with—but that’s pretty much the only way it resembles a classic Garamond. At first glance, especially in the Regular weight, you might not think of Delusse’s italic as reverse-contrast. It sneaks up on you. As weight and contrast increase, you become aware of just how fully bonkers this italic is. Look at the countershapes. Look at the intuitive, astonishing way Nugue swings the weight around. »
Delusse is released by @commercialtype with the assistance of Thomas Bouillet
The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Delusse is released by @commercialtype with the assistance from Thomas Bouillet.
The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Delusse is released by @commercialtype with the assistance from Thomas Bouillet.
Delusse is released by @commercialtype with the precious assistance from Thomas Bouillet.
Delusse is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse is released by @commercialtype with the precious assistance from Thomas Bouillet.
Delusse is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse is released by @commercialtype with the precious assistance from Thomas Bouillet.
Delusse is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse is released by @commercialtype with the precious assistance from Thomas Bouillet.
Delusse is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse is released by @commercialtype with the precious assistance from Thomas Bouillet.
Delusse is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
https://www.youtube.com/playlist?list=PLh8Q6TpPxtgxSG6DEuOrH9iKx9bh6Pr7G
James Mosley’s lectures on the history of letterforms were delivered in the Department of Typography & Graphic Communication over many years. They represent the sequence of lectures given by Prof. Mosley to students over the course of one academic year. In 2020–21, they were recorded as still images with voice-over. Following Prof. Mosley’s death in August 2025, the Department is pleased to make the recordings generally available in agreement with the Mosley estate.
All content © University of Reading and the James Mosley Estate
New work for last week’s Yesteryear issue of @nymag: lettering based on the 1975 poster for A Chorus Line, which was handlettered in a distinctly 1970s interpretation of Art Deco. Thanks to @tomalberty and his team!
New work for last week’s Yesteryear issue of @nymag: lettering based on the 1975 poster for A Chorus Line, which was handlettered in a distinctly 1970s interpretation of Art Deco. Thanks to @tomalberty and his team!
New work for last week’s Yesteryear issue of @nymag: lettering based on the 1975 poster for A Chorus Line, which was handlettered in a distinctly 1970s interpretation of Art Deco. Thanks to @tomalberty and his team!
New work for last week’s Yesteryear issue of @nymag: lettering based on the 1975 poster for A Chorus Line, which was handlettered in a distinctly 1970s interpretation of Art Deco. Thanks to @tomalberty and his team!
New work for last week’s Yesteryear issue of @nymag: lettering based on the 1975 poster for A Chorus Line, which was handlettered in a distinctly 1970s interpretation of Art Deco. Thanks to @tomalberty and his team!
A new width for the bestselling Graphik collection — Graphik Condensed, an all-purpose typeface by @commercialtype with Cyrillic by @cstmfonts, is now available at type.today!
A new width for the bestselling Graphik collection — Graphik Condensed, an all-purpose typeface by @commercialtype with Cyrillic by @cstmfonts, is now available at type.today!
A new width for the bestselling Graphik collection — Graphik Condensed, an all-purpose typeface by @commercialtype with Cyrillic by @cstmfonts, is now available at type.today!
A new width for the bestselling Graphik collection — Graphik Condensed, an all-purpose typeface by @commercialtype with Cyrillic by @cstmfonts, is now available at type.today!
A new width for the bestselling Graphik collection — Graphik Condensed, an all-purpose typeface by @commercialtype with Cyrillic by @cstmfonts, is now available at type.today!
A new width for the bestselling Graphik collection — Graphik Condensed, an all-purpose typeface by @commercialtype with Cyrillic by @cstmfonts, is now available at type.today!
A new width for the bestselling Graphik collection — Graphik Condensed, an all-purpose typeface by @commercialtype with Cyrillic by @cstmfonts, is now available at type.today!
A new width for the bestselling Graphik collection — Graphik Condensed, an all-purpose typeface by @commercialtype with Cyrillic by @cstmfonts, is now available at type.today!
A new width for the bestselling Graphik collection — Graphik Condensed, an all-purpose typeface by @commercialtype with Cyrillic by @cstmfonts, is now available at type.today!
A new width for the bestselling Graphik collection — Graphik Condensed, an all-purpose typeface by @commercialtype with Cyrillic by @cstmfonts, is now available at type.today!
New in the Vault! Caslon Ionic Rounded, adapted from Caslon Ionic by @greggazdowicz
vault.commercialtype.com
New in the Vault! Caslon Ionic Rounded, adapted from Caslon Ionic by @greggazdowicz
vault.commercialtype.com
New in the Vault! Caslon Ionic Rounded, adapted from Caslon Ionic by @greggazdowicz
vault.commercialtype.com
New in the Vault! Caslon Ionic Rounded, adapted from Caslon Ionic by @greggazdowicz
vault.commercialtype.com
New in the Vault! Caslon Ionic Rounded, adapted from Caslon Ionic by @greggazdowicz
vault.commercialtype.com
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.