Isambard No. 2

Isambard No. 2 takes the original and reduces the contrast, whilst main- taining the tightness of the original. Synthétiser A headline face, it has an extreme of contrast, often with abrupt changes between thick and thin strokes. The thicker serifs and hairlines give the face greater robustness, giving the GROWING design a greater readibilty at distance. ISAMBARD NO. 2 ROMAN, 48 PT

Designed by Paul Barnes Miguel Reyes Offhanded Published 2019

2 Styles 1 Weight w/ Italic INSTINCT ISAMBARD NO. 2 ITALIC, 48 PT Features Proportional Lining Figures Fractions (Prebuilt & Arbitrary) Superscript / Subscript Swash Capitals (Italics) Location scout Stylistic Alternates ISAMBARD NO. 2 ROMAN, 36 PT Nacido ’76 ISAMBARD NO. 2 ITALIC, 36 PT [SWASH N] EVERY INTRODUCTION to aesthetic problems has acknowleded the existence ISAMBARD NO. 2 REGULAR, 20 PT AND INSTALLS BEAUTY in its place. Indeed, either the empirical & inductive ISAMBARD NO. 2 ITALIC, 20 PT EXPERIENCE AND THE FACTS OF enjoyment: an example of Fechner’s aesthetics from above & from below. The first was the method of aesthetic ISAMBARD NO. 2 REGULAR, 15 PT GIVING THIS “ARCHITECTONIC” metaphysics science that received its name, designating knowledge in the form of feeling, parallel to a logical ISAMBARD NO. 2 ITALIC, 15 PT

Commercial Classics commercialclassics.com Isambard No. 2

UPPERCASE

LOWERCASE

STANDARD

ALL CAP PUNCTUATION

LIGATURES

PROPORTIONAL LINING default figures

PREBUILT FRACTIONS

NUMERATORS & DENOMINATORS

SUPERSCRIPT, SUBSCRIPT

STYLISTIC ALTERNATES

ACCENTED UPPERCASE

ACCENTED LOWERCASE

Commercial Classics commercialclassics.com Isambard No. 2 Italic

UPPERCASE

LOWERCASE

STANDARD PUNCTUATION

ALL CAP PUNCTUATION

LIGATURES

PROPORTIONAL LINING default figures

PREBUILT FRACTIONS

NUMERATORS & DENOMINATORS

SUPERSCRIPT, SUBSCRIPT

SWASHES

STYLISTIC ALTERNATES

ACCENTED UPPERCASE

ACCENTED LOWERCASE

Commercial Classics commercialclassics.com Isambard No. 2

OPENTYPE FEATURES DEACTIVATED ACTIVATED FAMILY WIDE

ALL CAPS opens up spacing, ¿¡[Chips] @ £12.59!? ¿¡[CHIPS] @ £12.59!? moves punctuation up

PROPORTIONAL LINING default figures Jan: $3,460 €1,895 Jan: $3,460 €1,895 Feb: ¥7,031 £9,215 Feb: ¥7,031 £9,215

FRACTIONS ignores numeric date format 21/03/10 & 2 11/18 … 21/03/10 & 2 11/18 460/920

SUPERSCRIPT/SUPERIOR x158 + y23 × z18 − a421 x158 + y23 × z18 − a421

SUBSCRIPT/INFERIOR x158 + y23 × z18 − a421 x158 + y23 × z18 − a421

DENOMINATOR for arbitrary fractions 0123456789 01234… 0123456789 0123456789

NUMERATOR for arbitrary fractions 0123456789 01234… 0123456789 0123456789

LANGUAGE FEATURE Català (Catalan) ŀ AL·LUSIÓ cal·ligrafia AL·LUSIÓ cal·ligrafia

LANGUAGE FEATURE Polski (Polish) kreska accent SŁÓD których główna SŁÓD których główna

LANGUAGE FEATURE Română (Romanian) s accent ŞTIINŢIFICE însuşi ŞTIINŢIFICE însuşi

Commercial Classics commercialclassics.com Isambard No. 2

OPENTYPE FEATURES DEACTIVATED ACTIVATED ROMAN & ITALIC

STYLISTIC SET 15 nut fractions 3/4 of a farm’s 4 1/2 acres 3/4 of a farm’s 4 1/2 acres

STYLISTIC SET 18 alternate ? ¿Donde esta el correo? ¿Donde esta el correo?

OPENTYPE FEATURES DEACTIVATED ACTIVATED ROMAN ONLY

STYLISTIC SET 01 alternate R Right-handed Rigging Right-handed Rigging

STYLISTIC SET 08 alternate 7 Founded in early 1772 Founded in early 1772

STYLISTIC SET 19 alternate ? ¿Donde esta el correo? ¿Donde esta el correo?

OPENTYPE FEATURES DEACTIVATED ACTIVATED ITALIC ONLY

SWASH A J K M N Q V W Y Z QUIRKY KALE VAN QUIRKY KALE VAN Zen Work Makes Joy Zen Work Makes Joy

Commercial Classics commercialclassics.com Isambard No. 2

STYLES INCLUDED IN COMPLETE FAMILY ABOUT THE DESIGNERS

Isambard No. 2 Regular Paul Barnes (born 1970) is a graphic and type de- Isambard No. 2 Italic signer, and a partner with Christian Schwartz in Commercial Type, a based in London and New York. He has also been a long term collabo- rator with Peter Saville which has resulted in such SUPPORTED LANGUAGES diverse work as identities for Givenchy, ‘Original Afrikaans, Albanian, Asturian, Basque, Bosnian, Modern’ for Manchester, the England football team Breton, Catalan, Cornish, Croatian, Czech, kit and the logo for Kate Moss. Danish, Dutch, English, Esperanto, Estonian, Barnes has also been an advisor and consul- Faroese, Finnish, French, Galician, German, tant on numerous publications, notably Wallpaper*, Greenlandic, Guarani, Hawaiian, Hungarian, Harper’s Bazaar and frieze. His interest in the mod- Ibo, Icelandic, Indonesian, Irish, Gaelic, Italian, ern and vernacular is encompassed in his type de- Kurdish, Latin, Latvian, Lithuanian, Livonian, sign ranging from the contemporary such as for Malagasy, Maltese, Maori, Moldavian, Norwegian, Björk, through to the extensive Chiswick Occitan, Polish, Portuguese, Romanian, (2017). Whilst consultant to The Guardian he de- Romansch, Saami, Samoan, Scots, Scottish signed Guardian Egyptian with Christian Schwartz. Gaelic, Serbian (Latin), Slovak, Slovenian, He has designed for the National Trust in Spanish (Castillian), Swahili, Swedish, Tagalog, England, the numbers for Puma at the 2010 World Turkish, Walloon, Welsh, Wolof Cup and also the England football team for Umbro. For Commercial Type he has codesigned Publico with Schwartz, and independently Austin, Dala Floda and Marian. CONTACT Following the redesign of The Guardian, as part of Commercial Classics the team headed by Mark Porter, Barnes was award- 110 Lafayette Street, #203 ed the Black Pencil from the D&AD. They were also New York, New York 10013 nominated for the Design Museum ‘Designer of the Year’. In September 2006, with Schwartz he was office 212-604-0955 named one of the 40 most influential designers under fax 212-925-2701 40 in Wallpaper*. A year later The Guardian named commercialclassics.com him as one of the 50 best designers in Britain.

Miguel Reyes (born 1984), originally from Puebla, Mexico, studied graphic design at Benemérita Uni- COPYRIGHT versidad Autónoma de Puebla before working as a © 2019 Commercial Classics. All rights reserved. type designer, graphic designer, and publication de- Commercial Classics® and Isambard™ signer in Barcelona and Mexico City. He then studied are trademarks of Schwartzco Inc., at CEGestalt, School of Design in Mexico dba Commercial Classics. City and later attended the Type and Media Mas- ters course at KABK in the Hague. Miguel joined the This file may be used for evaluation purposes only. design staff of Commercial Type in 2013 and became a staff designer that year. His work has been honored by the Latin American Biennial of , the New York Type Directors Club, and the Fine Press Book Association.

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