Brunel Collection

Brunel
Collection
Brunel is a quintessentially
British Modern. With multiple
weights from a delicate thin to a
forceful black, in optical sizes from
the robust Text to the extreme
contrast of the Hairline, Brunel
maintains a gentle elegance
throughout. This makes it a face
for multiple applications, from
editorial and book design to
everyday graphic design.
D E S I G N E D BY PUBLISHED F E AT U R E S (VA R I E S BY FA M I LY)
PAU L BA R N ES 2019 P RO P O RT I O N A L / TA B U L A R 3/4 H E I G H T F I G U R ES
P RO P O RT I O N A L / TA B U L A R O L D ST Y L E F I G U R ES
P RO D U CT I O N AS S I STA N C E 4 FA M I L I E S P RO P O RT I O N A L / TA B U L A R L I N I N G F I G U R ES
C H R I ST I A N S C H WA RTZ 4 O P T I CA L S I Z ES S M A L L CA P P RO P O RT I O N A L / TA B U L A R L I N I N G F I G U R ES
B E RTO N H AS E B E F R ACT I O N S ( P R E B U I LT & A R B I T R A RY)
DAV E FO ST E R S U P E RS C R I P T/S U B S C R I P T
O R D I N A L L ET T E RS
S M A L L CA PS ( RO M A N & I TA L I C)
SWAS H CA P I TA LS
ST Y L I ST I C A LT E R N AT ES
Commercial Classics commercialclassics.com

Brunel Collection 2 of 39
RECOMMENDED MINIMUM & MAXIMUM SIZES
TEXT, 8 – 18 PT The English East India Company was established in 1600, and Royal Charter was granted by
the Queen soon thereafter. In their first nine voyages they fitted
out for India. Their main provinces were in cotton, tea,
and silk. In 1647, new voyages confirmed by Act
Even following setbacks in 1711 through the

DECK, 18 – 60 PT
Conduct of competing European firms

However despite much aggravation
STEADFASTLY ENDURES
Eventual forging
POSTER, 60 – 96 PT
Downtown
Edits
HAIRLINE, 100 PT+
Commercial Classics
WRY commercialclassics.com
Brunel
Hairline
With extreme contrast and
the finest serifs, Brunel
Hairline is designed for the
largest sizes. It is the modern
of the past made with the
possibilties of today, where
the elegance and beauty of
the form takes centre stage.
D E S I G N E D BY PUBLISHED F E AT U R E S
PAU L BA R N ES 2019 P RO P O RT I O N A L 3/4 H E I G H T F I G U R ES
B E RTO N H AS E B E P RO P O RT I O N A L O L D ST Y L E F I G U R ES
18 ST Y L E S P RO P O RT I O N A L L I N I N G F I G U R ES
P RO D U CT I O N AS S I STA N C E 9 W E I G H TS W/ I TA L I C S S M A L L CA P P RO P O RT I O N A L L I N I N G F I G U R ES
C H R I ST I A N S C H WA RTZ F R ACT I O N S ( P R E B U I LT & A R B I T R A RY)
DAV E FO ST E R S U P E RS C R I P T/S U B S C R I P T
SWAS H CA P I TA LS

MONT
Extents
B R U N E L H A I R L I N E T H I N , 140 P T
QUAYS
Reckon
B R U N E L H A I R L I N E T H I N I TA L I C, 140 P T

IDEAL
Tijdens
B R U N E L H A I R L I N E E XT R A L I G H T, 140 P T
KNITS
Lazing
B R U N E L H A I R L I N E E XT R A L I G H T I TA L I C, 140 P T

PRICE
Forests
B R U N E L H A I R L I N E L I G H T, 140 P T
PAESI
Quirky
B R U N E L H A I R L I N E L I G H T I TA L I C, 140 P T

BOWL
Centro
B R U N E L H A I R L I N E RO M A N , 140 P T
[ A LT E R N AT E t]
INTRĂ
Walnut
B R U N E L H A I R L I N E I TA L I C, 140 P T
[ SWAS H W ]

MASK
Round
B R U N E L H A I R L I N E RO M A N N O. 2, 140 P T
[ SWAS H K ]
JOIST
Straße
B R U N E L H A I R L I N E I TA L I C N O. 2, 140 P T

KDYŽ
Argyle
B R U N E L H A I R L I N E M E D I U M , 140 P T
AJAR
Quant
B R U N E L H A I R L I N E M E D I U M I TA L I C, 140 P T
[ SWAS H A J Q ]

VOTE
Bærer
B R U N E L H A I R L I N E S E M I B O L D, 140 P T
IDŐK
Lights
B R U N E L H A I R L I N E S E M I B O L D I TA L I C, 140 P T
[ A LT E R N AT E g]

LAYO
Razor
B R U N E L H A I R L I N E B O L D, 140 P T
FACT
Series
B R U N E L H A I R L I N E B O L D I TA L I C, 140 P T

IOWA
Guide
B R U N E L H A I R L I N E B L AC K , 140 P T
SJØS
Après
B R U N E L H A I R L I N E B L AC K I TA L I C, 140 P T
[ A LT E R N AT E A ]

Thermoplastic
Cosmopolitan
Kaleidoscopic
Konungdæmi
Embarcações
Demografico
Agricultural
Spectacular
Regenerate
B R U N E L H A I R L I N E , 75 P T

Developments
Aberdeenshire
Radicalement
Photographer
Improvement
Culminación
Ambassador
Renovating
Beschouwd
B R U N E L H A I R L I N E I TA L I C, 75 P T

Brunel
Poster
In larger sizes Brunel’s
character changes from
a workhorse to simple
elegance. Less severe than
the Didot style, Brunel
Poster is a beautiful display
face with an expressive italic
for sizes above 60 point.
P RO P O RT I O N A L O L D ST Y L E F I G U R ES
P RO D U CT I O N AS S I STA N C E 12 ST Y L E S P RO P O RT I O N A L L I N I N G F I G U R ES
C H R I ST I A N S C H WA RTZ 6 W E I G H TS W/ I TA L I C S S M A L L CA P P RO P O RT I O N A L L I N I N G F I G U R ES
DAV E FO ST E R F R ACT I O N S ( P R E B U I LT & A R B I T R A RY)
S U P E RS C R I P T/S U B S C R I P T
SWAS H CA P I TA LS

FILOZOFIJU
Breakthrough
B R U N E L P O ST E R RO M A N , 70 P T
POLYMATHS
[ A LT E R N AT E t]
Underground
B R U N E L P O ST E R I TA L I C, 70 P T
VÄHENDATI
Mittenåsikter
B R U N E L P O ST E R RO M A N N O. 2, 70 P T
PREWOVEN
International
B R U N E L P O ST E R I TA L I C N O. 2, 70 P T
[ SWAS H N V W ]

LÜBECKER
Development
B R U N E L P O ST E R M E D I U M , 70 P T
OBJECTIVE
Confectioners
B R U N E L P O ST E R M E D I U M I TA L I C, 70 P T
ENTRAMBI
[ SWAS H J V ]
Provisionally
B R U N E L P O ST E R S E M I B O L D, 70 P T
TELEVISÃO
Kazanmıştır
B R U N E L P O ST E R S E M I B O L D I TA L I C, 70 P T

SPECIFICS
Nominasyon
B R U N E L P O ST E R B O L D, 70 P T
MEÐLIMIR
Algorithmic
B R U N E L P O ST E R B O L D I TA L I C, 70 P T
BATERIJO
[ A LT E R N AT E g]
Uroczystość
B R U N E L P O ST E R B L AC K , 70 P T
PREVIEW
Anonymity
B R U N E L P O ST E R B L AC K I TA L I C, 70 P T
[ SWAS H A , A LT E R N AT E SWAS H V W ]

Hilfsmaßnahme
Proportionately
Apprenticeship
Régulièrement
Constituencies
Psychological
B R U N E L P O ST E R , 60 P T

Sajtótájékoztatót
Ailddechreuodd
Monmouthshire
Recommencing
Homogenizing
Uitgebreidere
B R U N E L P O ST E R I TA L I C, 60 P T

Brunel Deck
The modern relies on a higher

than normal contrast, so Brunel
is designed with multiple optical
variants, optimizing it at all sizes.
Designed for sizes between text
(14 point and below) and headlines
(48 point and above), Brunel
Deck has an additional weight
compared to the Text, from
Roman to the emphatic Black.
P RO P O RT I O N A L O L D ST Y L E F I G U R ES
P RO D U CT I O N AS S I STA N C E 12 ST Y L E S P RO P O RT I O N A L L I N I N G F I G U R ES
C H R I ST I A N S C H WA RTZ 6 W E I G H TS W/ I TA L I C S S M A L L CA P P RO P O RT I O N A L L I N I N G F I G U R ES
DAV E FO ST E R F R ACT I O N S ( P R E B U I LT & A R B I T R A RY)
SWAS H CA P I TA LS

INHABITED FOR OVER 500 YEARS

Early tie-in with the architectural trade
PEMBROKE QUAY CUSTOMS ZONES
The various Savoyard states were unified
B R U N E L D EC K RO M A N , I TA L I C, 24 P T
[ SWAS H A K M N Q Y Z ]
TUGADH AITHEANTAS OIFIGIÚIL

It was cast by Walter MacFarlane & Co.
COAST OF THE COWAL PENINSULA
Den største by og hovedstad i regionen er
B R U N E L D EC K RO M A N N O. 2, I TA L I C N O. 2, 24 P T
[ A LT E R N AT E RO M A N t, I TA L I C A V W g v]
THE EPONYMOUS PROTAGONIST

Od 1871 r. stanowi część zjednoczonych
BILAN ÉNERGÉTIQUE EST DÉFINI
Expressed his skepticism of these results
B R U N E L D EC K M E D I U M , M E D I U M I TA L I C, 24 P T
[ P RO P O RT I O N A L O L D ST Y L E F I G U R ES , A LT E R N AT E x]
VILLAGES INCLUDE ARROCHAR

Very first cabinet minister to the king
FIVE MILES TO THE SOUTHEAST
Kutatása a második világháború után
B R U N E L D EC K S E M I B O L D, S E M I B O L D I TA L I C, 24 P T

IL LEGAME CON IL PAESAGGIO

In mid-1957 ZETA began it operation
NEW 3.8-LITRE FLAT-6 ENGINE
Alueella on 24,8 miljoonaa asukasta
B R U N E L D EC K B O L D, B O L D I TA L I C, 24 P T
BAMBOO-FACED CUPBOARDS
Fue obligada a abdicar el 5 de julio
A MUCH SIMPLER SOLUTION
Virtually 10.6 percent of all voters
B R U N E L D EC K B L AC K , B L AC K I TA L I C, 24 P T
[ SWAS H A M N V ]

Electro-mechanical
National regulator
Méthodes utilisées
Titans of industry
Græske mytologi
£1.7 billion stake
B R U N E L D EC K , 50 P T

La extensa colección
Quaintly historical
Zoals fotopolymeer
Influencing policy
Technical master
New freneticism
B R U N E L D EC K I TA L I C, 50 P T

Brunel Text
As Bodoni is Italian and Didot French, so Brunel is a

British modern. Based on the first modern of the Caslon
foundry cut by John Isaac Drury at the end of the
eighteenth century, it has a gentler appearance than
its continental cousins, whilst retaining the elegance
we associate with the modern style. Brunel expands the
original model to a large family for modern designers,
with multiple styles for different optical sizes.
Brunel Text has been specifically designed for use at
small sizes and continious reading matter, taking Drury’s
single weight in roman and italic, and extending to five
weights, from roman to a forceful but easy to read bold. It
manages to maintain the appearance of higher contrast,
whilst being robust enough for text sizes. Like the entire
Brunel family, it has small capitals in both roman and
italic, multiple numeral styles and swash italic capitals
PAU L BA R N ES 2019 P RO P O RT I O N A L / TA B U L A R 3/4 H E I G H T F I G U R ES
P RO P O RT I O N A L / TA B U L A R O L D ST Y L E F I G U R ES
P RO D U CT I O N AS S I STA N C E 20 ST Y L E S P RO P O RT I O N A L / TA B U L A R L I N I N G F I G U R ES
C H R I ST I A N S C H WA RTZ 2 H E I G H TS , E AC H H AV I N G S M A L L CA P P RO P O RT I O N A L / TA B U L A R L I N I N G F I G U R ES
DAV E FO ST E R 5 W E I G H TS W/ I TA L I C S F R ACT I O N S ( P R E B U I LT & A R B I T R A RY)
O R D I N A L L ET T E RS
SWAS H CA P I TA LS

IL 1º GIUGNO 2016, IN ATTUAZIONE DELLA LEGGE

Ultimately resulted in the creation of the Republic of Siena
A LOS VEINTITRES ENCABEZÓ UN GOLPE DE ESTADO
Glass carafes, martini shakers, and aprons designed for service
BRUNEL TEXT ROMAN, ITALIC, 16 PT
OVER 274,000 INTERNATIONAL ARRIVALS IN 2018

Na území metropolitního města se v Parco Regionale Etna
VACATED THE THRONE WHEN HE FLED TO FRANCE
At the time she was the youngest person to ever hold this office
BRUNEL TEXT ROMAN NO. 2, ITALIC NO. 2, 16 PT
A TELEPÜLÉS LAKOSSÁGA AZ ELMÚLT ÉVEKBEN

Originally a 452-room hotel, opened on October 30, 1925
A PHASE OF SIGNIFICANT LEGISLATIVE ACTIVITY
The 2016 race ran on the combined 23.56-mile road course
BRUNEL TEXT MEDIUM, MEDIUM ITALIC, 16 PT
[ALTERNATE t 4]
OMFATTER 58 KOMMUNER OG DÆKKER 7.28 KM2

The Marquessate of Sambuca passed to the Beccadellis
MENTIONS KING ARTHUR & THE ROUND TABLE
A series of talks nearer the border village of Panmunjom
BRUNEL TEXT SEMIBOLD, SEMIBOLD ITALIC, 16 PT
[ALTERNATE g v, SWASH A K M N]
HE DESIGNED IT AS AN OBSERVATION CENTER

Awarded “The Best of 2011” at the Games Convention
BEI DEN SIZILIANISCHEN REGIONALWAHLEN
Sequestered in different sections of the Grand Palace
BRUNEL TEXT BOLD, BOLD ITALIC, 16 PT
[ALTERNATE 2]

GEBREVETTEERD HOFLEVERANCIER VAN BELGIË

Signature dishes include busiate short pasta with qualeddu
APPOINTED REVISING BARRISTER FOR SHROPSHIRE
Deeply textured & speckled fabrics from the Mourne Mountains
BRUNEL TEXT SHORT ROMAN, ITALIC, 16 PT
GABARDINE HAS MORE WARP THAN WEFT YARNS

This Enamel Cast Iron Dish shown in Gunmetal is €284.75
DISTINCT CONCEPTION OF A HIGHLAND CÒSAGACH
À partir de 1217, sous l’influence aragonaise, Catane devint la
BRUNEL TEXT SHORT ROMAN NO. 2, ITALIC NO. 2, 16 PT
2009 STRUCTURAL CHANGES TO GOVERNMENTS

Founded in 1907 with a preliminary investment of £1,723
DET BLE I MODIFISERT VERSJON TATT I BRUK AV
A 1,425 m2 design/build labor of love nestled next to the sea
BRUNEL TEXT SHORT MEDIUM, MEDIUM ITALIC, 16 PT
[ALTERNATE v 1 2 4 �]
FAZ FRONTEIRA A NORTE E A NOROESTE COM A

It was by far the world’s least subtle literary reference
CAFODD CACI EI FABWYSIADU MEWN RHANNAU
A temperamental man but capable of unusual clemency
BRUNEL TEXT SHORT SEMIBOLD, SEMIBOLD ITALIC, 16 PT
DATORITĂ POZIȚIEI STRATEGICE ÎN CENTRUL

Made in the area since the time of the ancient Greeks
Á STÓRBORGARSVÆÐINU BÚA UM 750 ÞÚSUND
Established in 1851—the year of the Great Exhibition
BRUNEL TEXT SHORT BOLD, BOLD ITALIC, 16 PT

B R U N E L T E XT RO M A N , I TA L I C, S E M I B O L D, 16/20 P T
RO M A N S M A L L CA PS the spanish war, which began in 1739, and the

RO M A N French war which soon followed it occasioned
further increase of the debt, which, on the 31st
of December 1748, after it had been concluded
SEMIBOLD by the Treaty of Aix-la-Chapelle, amounted
to £78,293,313. The most profound peace of
the seventeen years of continuance had taken
P RO P O RT I O N A L
3/4 H E I G H T F I G U R ES no more than £8,328,354 from it. A war of less
than nine years’ continuance added £31,338,689
I TA L I C to it (Refer to James Postlethwaite’s History of
the Public Revenue). During the administration
of Mr. Pelham, the interest of the public debt
was reduced from 4% to 3%; or at least mea-
sures were taken for reducing it, from four to
SEMIBOLD three per cent; the sinking fund was increased,
and some part of the public debt was paid off.
In 1755, before the breaking out of the late war,
the funded debt of Great Britain amounted
O L D ST Y L E F I G U R ES to £72,289,673. On the 5th of January 1763, at
the conclusion of the peace, the funded debt
amounted to £122,603,336. The unfunded debt
has been stated at £13,927,589. But the expense
occasioned by the war did not end with the con-
clusion of the peace, so that though, on the 5th
L I N I N G F I G U R ES of January 1764, the funded debt was increased
(partly by a new loan, and partly by funding a
part of the unfunded debt) to £129,586,782,
there still remained (according to the very well
I TA L I C informed author of Considerations on the Trade
and Finances of Great Britain) an unfunded debt
which was brought to account in that and the
following year of £975,017. In 1764, therefore,

B R U N E L T E XT S H O RT RO M A N , I TA L I C, S E M I B O L D, 16/ 18 P T
RO M A N S M A L L CA PS the spanish war, which began in 1739, and the

RO M A N French war which soon followed it occasioned
further increase of the debt, which, on the 31st
of December 1748, after it had been concluded
SEMIBOLD by the Treaty of Aix-la-Chapelle, amounted
to £78,293,313. The most profound peace of
the seventeen years of continuance had taken
3/4 H E I G H T F I G U R ES no more than £8,328,354 from it. A war of less
than nine years’ continuance added £31,338,689
I TA L I C to it (Refer to James Postlethwaite’s History of
the Public Revenue). During the administration
of Mr. Pelham, the interest of the public debt
was reduced from 4% to 3%; or at least mea-
sures were taken for reducing it, from four to
SEMIBOLD three per cent; the sinking fund was increased,
and some part of the public debt was paid off.
In 1755, before the breaking out of the late war,
the funded debt of Great Britain amounted
O L D ST Y L E F I G U R ES to £72,289,673. On the 5th of January 1763, at
the conclusion of the peace, the funded debt
amounted to £122,603,336. The unfunded debt
has been stated at £13,927,589. But the expense
occasioned by the war did not end with the con-
clusion of the peace, so that though, on the 5th
L I N I N G F I G U R ES of January 1764, the funded debt was increased
(partly by a new loan, and partly by funding a
part of the unfunded debt) to £129,586,782,
there still remained (according to the very well
I TA L I C informed author of Considerations on the Trade
and Finances of Great Britain) an unfunded debt
which was brought to account in that and the
following year of £975,017. In 1764, therefore,
the public debt of Great Britain, funded and
unfunded together, amounted, according to

B R U N E L T E XT RO M A N , I TA L I C, S E M I B O L D, 10/ 13 P T B R U N E L T E XT RO M A N N O. 2, I TA L I C N O. 2, S E M I B O L D, 10/ 13 P T
Every introduction to the problems of aes- Every introduction to the problems of aes-
thetics begins by acknowledging the existence thetics begins by acknowledging the existence
and claims of two methods of attack—the gen- and claims of two methods of attack—the gen-
eral, philosophical, deductive, which starts from eral, philosophical, deductive, which starts from
a complete metaphysics and installs beauty in a complete metaphysics and installs beauty in
its place among the other great concepts; and its place among the other great concepts; and
the empirical, or inductive, which seeks to dis- the empirical, or inductive, which seeks to dis-
engage a general principle of beauty from the engage a general principle of beauty from the
objects of aesthetic experience and the facts of objects of aesthetic experience and the facts of
aesthetic enjoyment: an example of Fechner’s aesthetic enjoyment: an example of Fechner’s
“aesthetics from above and from below.” “aesthetics from above and from below.”
Methodologies of Aesthetics Methodologies of Aesthetics
The first was the method of aesthetics par The first was the method of aesthetics par
excellence. It was indeed only through the excellence. It was indeed only through the
desire of an eighteenth-century philosopher, desire of an eighteenth-century philosopher,
Baumgarten, to round out his “architectonic” Baumgarten, to round out his “architecton-
of metaphysics that the science received its ic” of metaphysics that the science received
name, as designating the theory of knowl- its name, as designating the theory of knowl-
edge in the form of feeling, parallel to that edge in the form of feeling, parallel to that
of “clear,” logical thought. Kant, Schelling, of “clear,” logical thought. Kant, Schelling,
and Hegel, again, made use of the concept of and Hegel, again, made use of the concept of
the Beautiful as a kind of keystone or cornice the Beautiful as a kind of keystone or cornice
for their respective philosophical edifices. for their respective philosophical edifices.
Aesthetics, then, came into being as the Aesthetics, then, came into being as the phi-
philosophy of the Beautiful, and it may be losophy of the Beautiful, and it may be asked
asked why this philosophical aesthetics does why this philosophical aesthetics does not
not suffice; why beauty should need for its suffice; why beauty should need for its under-
understanding also an aesthetics “von unten.” standing also an aesthetics “von unten.” The
The answer is not that no system of philosophy answer is not that no system of philosophy
is universally accepted, but that the general is universally accepted, but that the general
aesthetic theories have not, as yet at least, suc- aesthetic theories have not, as yet at least, suc-
ceeded in answering the plain questions of ceeded in answering the plain questions of
“the plain man” in regard to concrete beauty. “the plain man” in regard to concrete beauty.
Kant, indeed, frankly denied that the explana- Kant, indeed, frankly denied that the expla-
tion of concrete beauty, or “Doctrine of Taste,” nation of concrete beauty, or “Doctrine of
as he called it, was possible, while the various Taste,” as he called it, was possible, while the
definers of beauty as “the union of the Real various definers of beauty as “the union of
and the Ideal” “the expression of the Ideal to the Real and the Ideal” “the expression of the
Sense,” have done no more than he. No one Ideal to Sense,” have done no more than he.
of these aesthetic systems, in spite of volumes No one of these aesthetic systems, in spite of
of so-called application of their principles to volumes of so-called application of their prin-
works of art, has been able to furnish a crite- ciples to works of art, has been able to fur-
rion of beauty. The criticism of the generations nish a criterion of beauty. The criticism of the
is summed up in the mild remark of Fechner, generations is summed up in the mild remark
in his “Vorschule der Aesthetik,” to the effect of Fechner, in his “Vorschule der Aesthetik,”

B R U N E L T E XT M E D I U M , M E D I U M I TA L I C, B O L D, 10/ 13 P T B R U N E L T E XT S E M I B O L D, S E M I B O L D I TA L I C, 10/ 13 P T
Every introduction to the problems of aes- Every introduction to the problems of

thetics begins by acknowledging the existence aesthetics begins by acknowledging the exis-
and claims of two methods of attack—the tence and claims of two methods of attack—
general, philosophical, deductive, which starts the general, philosophical, deductive, which
from a complete metaphysics and installs starts from a complete metaphysics and
beauty in its place among the other great installs beauty in its place among the other
concepts; and the empirical, or inductive, great concepts; and the empirical, or induc-
which seeks to disengage a general principle tive, which seeks to disengage a general prin-
of beauty from the objects of aesthetic experi- ciple of beauty from the objects of aesthetic
ence and the facts of aesthetic enjoyment: an experience and the facts of aesthetic enjoy-
example of Fechner’s “aesthetics from above ment: an example of Fechner’s “aesthetics
and from below.” from above and from below.”
of “clear,” logical thought. Kant, Schelling,
and Hegel, again, made use of the concept
of the Beautiful as a kind of keystone or B R U N E L T E XT B O L D, B O L D I TA L I C, 10/ 13 P T
cornice for their respective philosophical
edifices. Aesthetics, then, came into being as

Every introduction to the problems
the philosophy of the Beautiful, and it may
of aesthetics begins by acknowledging the
be asked why this philosophical aesthetics
existence and claims of two methods of at-
does not suffice; why beauty should need for
tack—the general, philosophical, deductive,
its understanding also an aesthetics “von
which starts from a complete metaphysics
unten.” The answer is not that no system of
and installs beauty in its place among the
philosophy is universally accepted, but that
other great concepts; and the empirical, or
the general aesthetic theories have not, as yet at
inductive, which seeks to disengage a gen-
least, succeeded in answering the plain ques-
eral principle of beauty from the objects of
tions of “the plain man” in regard to concrete
aesthetic experience and the facts of aes-
beauty. Kant, indeed, frankly denied that the
thetic enjoyment: an example of Fechner’s
explanation of concrete beauty, or “Doctrine
“aesthetics from above and from below.”
of Taste,” as he called it, was possible, while
the various definers of beauty as “the union of Methodologies of Aesthetics
the Real and the Ideal” “the expression of the The first was the method of aesthetics par
Ideal to Sense,” have done no more than he. excellence. It was indeed only through the
No one of these aesthetic systems, in spite of desire of an eighteenth-century philoso-
volumes of so-called application of their prin- pher, Baumgarten, to round out his “archi-
ciples to works of art, has been able to furnish tectonic” of metaphysics that the science
a criterion of beauty. The criticism of the received its name, as designating the the-
generations is summed up in the mild remark ory of knowledge in the form of feeling,

B R U N E L T E XT S H O RT RO M A N , I TA L I C, S E M I B O L D, 10/ 12 P T BRUNEL TEXT SHORT ROMAN NO. 2, ITALIC NO. 2, SEMIBOLD, 10/12 PT
and claims of two methods of attack—the gen- and claims of two methods of attack—the gen-
eral, philosophical, deductive, which starts from eral, philosophical, deductive, which starts from
a complete metaphysics and installs beauty in a complete metaphysics and installs beauty in
its place among the other great concepts; and its place among the other great concepts; and
the empirical, or inductive, which seeks to dis- the empirical, or inductive, which seeks to dis-
engage a general principle of beauty from the engage a general principle of beauty from the
objects of aesthetic experience and the facts of objects of aesthetic experience and the facts of
aesthetic enjoyment: an example of Fechner’s aesthetic enjoyment: an example of Fechner’s
and Hegel, again, made use of the concept of and Hegel, again, made use of the concept of
the Beautiful as a kind of keystone or cornice the Beautiful as a kind of keystone or cornice
for their respective philosophical edifices. for their respective philosophical edifices.
Aesthetics, then, came into being as the Aesthetics, then, came into being as the phi-
philosophy of the Beautiful, and it may be losophy of the Beautiful, and it may be asked
asked why this philosophical aesthetics does why this philosophical aesthetics does not
not suffice; why beauty should need for its suffice; why beauty should need for its under-
understanding also an aesthetics “von unten.” standing also an aesthetics “von unten.” The
The answer is not that no system of philosophy answer is not that no system of philosophy
is universally accepted, but that the general is universally accepted, but that the general
aesthetic theories have not, as yet at least, suc- aesthetic theories have not, as yet at least, suc-
ceeded in answering the plain questions of ceeded in answering the plain questions of
“the plain man” in regard to concrete beauty. “the plain man” in regard to concrete beauty.
Kant, indeed, frankly denied that the explana- Kant, indeed, frankly denied that the explana-
tion of concrete beauty, or “Doctrine of Taste,” tion of concrete beauty, or “Doctrine of Taste,”
as he called it, was possible, while the various as he called it, was possible, while the various
definers of beauty as “the union of the Real definers of beauty as “the union of the Real
and the Ideal” “the expression of the Ideal to and the Ideal” “the expression of the Ideal to
Sense,” have done no more than he. No one Sense,” have done no more than he. No one
of these aesthetic systems, in spite of volumes of these aesthetic systems, in spite of volumes
of so-called application of their principles to of so-called application of their principles to
works of art, has been able to furnish a crite- works of art, has been able to furnish a criteri-
rion of beauty. The criticism of the generations on of beauty. The criticism of the generations
is summed up in the mild remark of Fechner, is summed up in the mild remark of Fechner,
in his “Vorschule der Aesthetik,” to the ef- in his “Vorschule der Aesthetik,” to the effect
fect that the philosophical path leaves one in that the philosophical path leaves one in con-
conceptions that, by reason of their generality, ceptions that, by reason of their generality, do
do not well fit the particular cases. And so it was not well fit the particular cases. And so it was

B R U N E L T E XT S H O RT M E D I U M , M E D I U M I TA L I C, B O L D, 10/ 12 P T B R U N E L T E XT S H O RT S E M I B O L D, S E M I B O L D I TA L I C, 10/ 12 P T
Every introduction to the problems of aes- Every introduction to the problems of

thetics begins by acknowledging the existence aesthetics begins by acknowledging the exis-
and claims of two methods of attack—the tence and claims of two methods of attack—
general, philosophical, deductive, which starts the general, philosophical, deductive, which
from a complete metaphysics and installs starts from a complete metaphysics and
beauty in its place among the other great installs beauty in its place among the other
concepts; and the empirical, or inductive, great concepts; and the empirical, or induc-
which seeks to disengage a general principle tive, which seeks to disengage a general prin-
of beauty from the objects of aesthetic experi- ciple of beauty from the objects of aesthetic
ence and the facts of aesthetic enjoyment: an experience and the facts of aesthetic enjoy-
example of Fechner’s “aesthetics from above ment: an example of Fechner’s “aesthetics
and from below.” from above and from below.”
and Hegel, again, made use of the concept and Hegel, again, made use of the concept of
of the Beautiful as a kind of keystone or
cornice for their respective philosophical
edifices. Aesthetics, then, came into being as B R U N E L T E XT S H O RT B O L D, B O L D I TA L I C, 10/ 12 P T

the philosophy of the Beautiful, and it may
be asked why this philosophical aesthetics
Every introduction to the problems
does not suffice; why beauty should need for
of aesthetics begins by acknowledging the
its understanding also an aesthetics “von
existence and claims of two methods of at-
unten.” The answer is not that no system of
tack—the general, philosophical, deductive,
philosophy is universally accepted, but that
which starts from a complete metaphysics
the general aesthetic theories have not, as yet at
and installs beauty in its place among the
least, succeeded in answering the plain ques-
other great concepts; and the empirical, or
tions of “the plain man” in regard to concrete
inductive, which seeks to disengage a gen-
beauty. Kant, indeed, frankly denied that the
eral principle of beauty from the objects of
explanation of concrete beauty, or “Doctrine
aesthetic experience and the facts of aes-
of Taste,” as he called it, was possible, while
thetic enjoyment: an example of Fechner’s
the various definers of beauty as “the union of
“aesthetics from above and from below.”
the Real and the Ideal” “the expression of the
Ideal to Sense,” have done no more than he. Methodologies of Aesthetics
No one of these aesthetic systems, in spite of The first was the method of aesthetics par
volumes of so-called application of their prin- excellence. It was indeed only through the
ciples to works of art, has been able to furnish desire of an eighteenth-century philoso-
a criterion of beauty. The criticism of the pher, Baumgarten, to round out his “archi-
generations is summed up in the mild remark tectonic” of metaphysics that the science
of Fechner, in his “Vorschule der Aesthetik,” received its name, as designating the theory
to the effect that the philosophical path leaves of knowledge in the form of feeling, paral-
one in conceptions that, by reason of their lel to that of “clear,” logical thought. Kant,
generality, do not well fit the particular cases. Schelling, and Hegel, again, made use of the

B R U N E L T E XT RO M A N , I TA L I C, S E M I B O L D, 9/ 11.5 P T B R U N E L T E XT M E D I U M , M E D I U M I TA L I C, B O L D, 9/ 11.5 P T
Every introduction to the problems of aesthet- Every introduction to the problems of aes-
ics begins by acknowledging the existence and thetics begins by acknowledging the existence
claims of two methods of attack—the general, and claims of two methods of attack—the gen-
philosophical, deductive, which starts from a eral, philosophical, deductive, which starts from
complete metaphysics and installs beauty in its a complete metaphysics and installs beauty in its
place among the other great concepts; and the place among the other great concepts; and the
empirical, or inductive, which seeks to disengage empirical, or inductive, which seeks to disengage
a general principle of beauty from the objects of a general principle of beauty from the objects of
aesthetic experience and the facts of aesthetic aesthetic experience and the facts of aesthetic
enjoyment: an example of Fechner’s “aesthetics enjoyment: an example of Fechner’s “aesthetics
from above and from below.” from above and from below.”
The first was the method of aesthetics par excel- The first was the method of aesthetics par excel-
lence. It was indeed only through the desire of lence. It was indeed only through the desire of an
an eighteenth-century philosopher, Baumgarten, eighteenth-century philosopher, Baumgarten,
to round out his “architectonic” of metaphysics to round out his “architectonic” of metaphysics
that the science received its name, as designating that the science received its name, as designating
the theory of knowledge in the form of feeling, the theory of knowledge in the form of feeling,
parallel to that of “clear,” logical thought. Kant, parallel to that of “clear,” logical thought. Kant,
Schelling, and Hegel, again, made use of the Schelling, and Hegel, again, made use of the
concept of the Beautiful as a kind of keystone or concept of the Beautiful as a kind of keystone or
cornice for their respective philosophical edifices. cornice for their respective philosophical edifices.
Aesthetics, then, came into being as the philoso- Aesthetics, then, came into being as the philoso-
phy of the Beautiful, and it may be asked why phy of the Beautiful, and it may be asked why
this philosophical aesthetics does not suffice; why this philosophical aesthetics does not suffice; why
beauty should need for its understanding also an beauty should need for its understanding also an
aesthetics “von unten.” aesthetics “von unten.”
The State of Criticism The State of Criticism
The answer is not that no system of philosophy is The answer is not that no system of philosophy
universally accepted, but that the general aesthetic is universally accepted, but that the general aes-
theories have not, as yet at least, succeeded in an- thetic theories have not, as yet at least, succeeded
swering the plain questions of “the plain man” in in answering the plain questions of “the plain
regard to concrete beauty. Kant, indeed, frankly man” in regard to concrete beauty. Kant, indeed,
denied that the explanation of concrete beauty, or frankly denied that the explanation of concrete
“Doctrine of Taste,” as he called it, was possible, beauty, or “Doctrine of Taste,” as he called it,
while the various definers of beauty as “the union was possible, while the various definers of beauty
of the Real and the Ideal” “the expression of the as “the union of the Real and the Ideal” “the
Ideal to Sense,” have done no more than he. No expression of the Ideal to Sense,” have done no
one of these aesthetic systems, in spite of volumes more than he. No one of these aesthetic systems,
of so-called application of their principles to in spite of volumes of so-called application of
works of art, has been able to furnish a criterion their principles to works of art, has been able to
of beauty. The criticism of the generations is furnish a criterion of beauty. The criticism of the
summed up in the mild remark of Fechner, in generations is summed up in the mild remark of
his “Vorschule der Aesthetik,” to the effect that Fechner, in his “Vorschule der Aesthetik,” to the
the philosophical path leaves one in conceptions effect that the philosophical path leaves one in
that, by reason of their generality, do not well fit conceptions that, by reason of their generality, do
the particular cases. And so it was that empirical not well fit the particular cases. And so it was that
aesthetics arose, which does not seek to answer empirical aesthetics arose, which does not seek to
those plain questions as to the enjoyment of con- answer those plain questions as to the enjoyment
crete beauty down to its simplest forms, to which of concrete beauty down to its simplest forms, to

B R U N E L T E XT S H O RT RO M A N , I TA L I C, S E M I B O L D, 9/ 11 P T B R U N E L T E XT S H O RT M E D I U M , M E D I U M I TA L I C, B O L D, 9/ 11 P T
and claims of two methods of attack—the general, and claims of two methods of attack—the gen-
philosophical, deductive, which starts from a eral, philosophical, deductive, which starts from
complete metaphysics and installs beauty in its a complete metaphysics and installs beauty in its
place among the other great concepts; and the place among the other great concepts; and the
empirical, or inductive, which seeks to disengage empirical, or inductive, which seeks to disengage
a general principle of beauty from the objects of a general principle of beauty from the objects of
aesthetic experience and the facts of aesthetic aesthetic experience and the facts of aesthetic
enjoyment: an example of Fechner’s “aesthetics enjoyment: an example of Fechner’s “aesthetics
from above and from below.” from above and from below.”
lence. It was indeed only through the desire of lence. It was indeed only through the desire of an
an eighteenth-century philosopher, Baumgarten, eighteenth-century philosopher, Baumgarten,
to round out his “architectonic” of metaphysics to round out his “architectonic” of metaphysics
that the science received its name, as designating that the science received its name, as designating
the theory of knowledge in the form of feeling, the theory of knowledge in the form of feeling,
parallel to that of “clear,” logical thought. Kant, parallel to that of “clear,” logical thought. Kant,
Schelling, and Hegel, again, made use of the Schelling, and Hegel, again, made use of the
concept of the Beautiful as a kind of keystone or concept of the Beautiful as a kind of keystone or
cornice for their respective philosophical edifices. cornice for their respective philosophical edifices.
Aesthetics, then, came into being as the philoso- Aesthetics, then, came into being as the philoso-
phy of the Beautiful, and it may be asked why phy of the Beautiful, and it may be asked why
this philosophical aesthetics does not suffice; why this philosophical aesthetics does not suffice; why
beauty should need for its understanding also an beauty should need for its understanding also an
aesthetics “von unten.” aesthetics “von unten.”
The answer is not that no system of philosophy is The answer is not that no system of philosophy
universally accepted, but that the general aesthetic is universally accepted, but that the general aes-
theories have not, as yet at least, succeeded in thetic theories have not, as yet at least, succeeded
answering the plain questions of “the plain man” in answering the plain questions of “the plain
in regard to concrete beauty. Kant, indeed, man” in regard to concrete beauty. Kant, indeed,
frankly denied that the explanation of concrete frankly denied that the explanation of concrete
beauty, or “Doctrine of Taste,” as he called it, beauty, or “Doctrine of Taste,” as he called it,
was possible, while the various definers of beauty was possible, while the various definers of beauty
as “the union of the Real and the Ideal” “the as “the union of the Real and the Ideal” “the
expression of the Ideal to Sense,” have done no expression of the Ideal to Sense,” have done no
more than he. No one of these aesthetic systems, more than he. No one of these aesthetic systems,
in spite of volumes of so-called application of in spite of volumes of so-called application of
their principles to works of art, has been able to their principles to works of art, has been able to
furnish a criterion of beauty. The criticism of the furnish a criterion of beauty. The criticism of the
generations is summed up in the mild remark of generations is summed up in the mild remark of
Fechner, in his “Vorschule der Aesthetik,” to the Fechner, in his “Vorschule der Aesthetik,” to the
effect that the philosophical path leaves one in effect that the philosophical path leaves one in
conceptions that, by reason of their generality, do conceptions that, by reason of their generality, do
not well fit the particular cases. And so it was that not well fit the particular cases. And so it was that
empirical aesthetics arose, which does not seek empirical aesthetics arose, which does not seek to
to answer those plain questions as to the enjoy- answer those plain questions as to the enjoyment
ment of concrete beauty down to its simplest of concrete beauty down to its simplest forms, to
forms, to which philosophical aesthetics had which philosophical aesthetics had been inad-
been inadequate. But it is clear that neither has equate. But it is clear that neither has empirical

B R U N E L T E XT RO M A N , I TA L I C, S E M I B O L D, 8/ 10.5 P T B R U N E L T E XT M E D I U M , M E D I U M I TA L I C, B O L D, 8/ 10.5 P T
Every introduction to the problems of aesthetics Every introduction to the problems of aesthetics
begins by acknowledging the existence and claims begins by acknowledging the existence and claims
of two methods of attack—the general, philosophical, of two methods of attack—the general, philosophi-
deductive, which starts from a complete metaphys- cal, deductive, which starts from a complete meta-
ics and installs beauty in its place among the other physics and installs beauty in its place among the
great concepts; and the empirical, or inductive, which other great concepts; and the empirical, or induc-
seeks to disengage a general principle of beauty tive, which seeks to disengage a general principle
from the objects of aesthetic experience and the of beauty from the objects of aesthetic experience
facts of aesthetic enjoyment: an example of Fech- and the facts of aesthetic enjoyment: an example of
ner’s “aesthetics from above and from below.” Fechner’s “aesthetics from above and from below.”

lence. It was indeed only through the desire of an lence. It was indeed only through the desire of an
eighteenth-century philosopher, Baumgarten, to eighteenth-century philosopher, Baumgarten, to
round out his “architectonic” of metaphysics that round out his “architectonic” of metaphysics that
the science received its name, as designating the the science received its name, as designating the
theory of knowledge in the form of feeling, parallel theory of knowledge in the form of feeling, parallel
to that of “clear,” logical thought. Kant, Schelling, to that of “clear,” logical thought. Kant, Schelling,
and Hegel, again, made use of the concept of the and Hegel, again, made use of the concept of the
Beautiful as a kind of keystone or cornice for their Beautiful as a kind of keystone or cornice for their
respective philosophical edifices. Aesthetics, then, respective philosophical edifices. Aesthetics, then,
came into being as the philosophy of the Beautiful, came into being as the philosophy of the Beautiful,
and it may be asked why this philosophical aesthet- and it may be asked why this philosophical aesthet-
ics does not suffice; why beauty should need for its ics does not suffice; why beauty should need for its
understanding also an aesthetics “von unten.” understanding also an aesthetics “von unten.”

The answer is not that no system of philosophy The answer is not that no system of philosophy is
is universally accepted, but that the general aes- universally accepted, but that the general aesthetic
thetic theories have not, as yet at least, succeeded in theories have not, as yet at least, succeeded in an-
answering the plain questions of “the plain man” swering the plain questions of “the plain man” in
in regard to concrete beauty. Kant, indeed, frankly regard to concrete beauty. Kant, indeed, frankly
denied that the explanation of concrete beauty, or denied that the explanation of concrete beauty, or
“Doctrine of Taste,” as he called it, was possible, “Doctrine of Taste,” as he called it, was possible,
while the various definers of beauty as “the union of while the various definers of beauty as “the union of
the Real and the Ideal” “the expression of the Ideal the Real and the Ideal” “the expression of the Ideal
to Sense,” have done no more than he. No one of these to Sense,” have done no more than he. No one of these
aesthetic systems, in spite of volumes of so-called aesthetic systems, in spite of volumes of so-called
application of their principles to works of art, has application of their principles to works of art, has
been able to furnish a criterion of beauty. The criti- been able to furnish a criterion of beauty. The criti-
cism of the generations is summed up in the mild cism of the generations is summed up in the mild
remark of Fechner, in his “Vorschule der Aesthetik,” remark of Fechner, in his “Vorschule der Aesthetik,”
to the effect that the philosophical path leaves one to the effect that the philosophical path leaves one
in conceptions that, by reason of their generality, in conceptions that, by reason of their generality, do
do not well fit the particular cases. And so it was that not well fit the particular cases. And so it was that
empirical aesthetics arose, which does not seek to empirical aesthetics arose, which does not seek to
answer those plain questions as to the enjoyment of answer those plain questions as to the enjoyment of
concrete beauty down to its simplest forms, to which concrete beauty down to its simplest forms, to which
philosophical aesthetics had been inadequate. But philosophical aesthetics had been inadequate. But
it is clear that neither has empirical aesthetics said it is clear that neither has empirical aesthetics said
the last word concerning beauty. Criticism is still in the last word concerning beauty. Criticism is still
a chaotic state that would be impossible if aesthetic in a chaotic state that would be impossible if aes-
theory were firmly grounded. This situation appears thetic theory were firmly grounded. This situation
to me to be due to the inherent inadequacy and appears to me to be due to the inherent inadequacy
inconclusiveness of empirical aesthetics when it and inconclusiveness of empirical aesthetics when it
stands alone; the grounds of this inadequacy I shall stands alone; the grounds of this inadequacy I shall

B R U N E L T E XT S H O RT RO M A N , I TA L I C, S E M I B O L D, 8/9 P T B R U N E L T E XT S H O RT M E D I U M , M E D I U M I TA L I C, B O L D, 8/9 P T
Every introduction to the problems of aesthetics Every introduction to the problems of aesthetics
begins by acknowledging the existence and claims begins by acknowledging the existence and claims
of two methods of attack—the general, philosophical, of two methods of attack—the general, philosophical,
deductive, which starts from a complete metaphys- deductive, which starts from a complete metaphysics
ics and installs beauty in its place among the other and installs beauty in its place among the other great
great concepts; and the empirical, or inductive, which concepts; and the empirical, or inductive, which
seeks to disengage a general principle of beauty seeks to disengage a general principle of beauty
from the objects of aesthetic experience and the facts from the objects of aesthetic experience and the facts
of aesthetic enjoyment: an example of Fechner’s of aesthetic enjoyment: an example of Fechner’s
The first was the method of aesthetics par excellence. The first was the method of aesthetics par excel-
It was indeed only through the desire of an eigh- lence. It was indeed only through the desire of an
teenth-century philosopher, Baumgarten, to round eighteenth-century philosopher, Baumgarten, to
out his “architectonic” of metaphysics that the sci- round out his “architectonic” of metaphysics that
ence received its name, as designating the theory of the science received its name, as designating the
knowledge in the form of feeling, parallel to that of theory of knowledge in the form of feeling, parallel
“clear,” logical thought. Kant, Schelling, and Hegel, to that of “clear,” logical thought. Kant, Schelling,
again, made use of the concept of the Beautiful as and Hegel, again, made use of the concept of the
a kind of keystone or cornice for their respective Beautiful as a kind of keystone or cornice for their
philosophical edifices. Aesthetics, then, came into respective philosophical edifices. Aesthetics, then,
being as the philosophy of the Beautiful, and it may came into being as the philosophy of the Beautiful,
be asked why this philosophical aesthetics does not and it may be asked why this philosophical aesthet-
suffice; why beauty should need for its understand- ics does not suffice; why beauty should need for its
ing also an aesthetics “von unten.” understanding also an aesthetics “von unten.”
The answer is not that no system of philosophy The answer is not that no system of philosophy is
is universally accepted, but that the general aes- universally accepted, but that the general aesthetic
thetic theories have not, as yet at least, succeeded in theories have not, as yet at least, succeeded in an-
answering the plain questions of “the plain man” swering the plain questions of “the plain man” in
in regard to concrete beauty. Kant, indeed, frankly regard to concrete beauty. Kant, indeed, frankly
denied that the explanation of concrete beauty, or denied that the explanation of concrete beauty, or
“Doctrine of Taste,” as he called it, was possible, “Doctrine of Taste,” as he called it, was possible,
while the various definers of beauty as “the union of while the various definers of beauty as “the union of
the Real and the Ideal” “the expression of the Ideal the Real and the Ideal” “the expression of the Ideal
to Sense,” have done no more than he. No one of these to Sense,” have done no more than he. No one of these
aesthetic systems, in spite of volumes of so-called aesthetic systems, in spite of volumes of so-called ap-
application of their principles to works of art, has plication of their principles to works of art, has been
been able to furnish a criterion of beauty. The criti- able to furnish a criterion of beauty. The criticism of
cism of the generations is summed up in the mild the generations is summed up in the mild remark of
remark of Fechner, in his “Vorschule der Aesthetik,” Fechner, in his “Vorschule der Aesthetik,” to the ef-
to the effect that the philosophical path leaves one fect that the philosophical path leaves one in concep-
in conceptions that, by reason of their generality, tions that, by reason of their generality, do not well
do not well fit the particular cases. And so it was that fit the particular cases. And so it was that empirical
empirical aesthetics arose, which does not seek to aesthetics arose, which does not seek to answer those
answer those plain questions as to the enjoyment of plain questions as to the enjoyment of concrete beau-
concrete beauty down to its simplest forms, to which ty down to its simplest forms, to which philosophical
philosophical aesthetics had been inadequate. aesthetics had been inadequate.
New Concerns New Concerns
But it is clear that neither has empirical aesthetics But it is clear that neither has empirical aesthetics
said the last word concerning beauty. Criticism is said the last word concerning beauty. Criticism is
still in a chaotic state that would be impossible if still in a chaotic state that would be impossible if aes-
aesthetic theory were firmly grounded. This situation thetic theory were firmly grounded. This situation
appears to me to be due to the inherent inadequacy appears to me to be due to the inherent inadequacy
and inconclusiveness of empirical aesthetics when it and inconclusiveness of empirical aesthetics when it
stands alone; the grounds of this inadequacy I shall stands alone; the grounds of this inadequacy I shall
seek to establish in the following. Granting that the seek to establish in the following. Granting that the
aim of every aesthetics is to determine the Nature of aim of every aesthetics is to determine the Nature of
Beauty, and to explain our feelings about it, we may Beauty, and to explain our feelings about it, we may
say that the empirical treatments propose to do this say that the empirical treatments propose to do this
either by describing the aesthetic object and extract- either by describing the aesthetic object and extract-
ing the essential elements of Beauty, or by describing ing the essential elements of Beauty, or by describing
the aesthetic experience and extracting the essential the aesthetic experience and extracting the essential
elements of aesthetic feeling, thereby indicating the elements of aesthetic feeling, thereby indicating the

I N C LU D E D FA M I L I ES A B O U T T H E D ES I G N E RS
Brunel Hairline Paul Barnes (born 1970) is a graphic and type de-
Brunel Poster signer, and a partner with Christian Schwartz in
Brunel Deck Commercial Type, a type foundry based in London
Brunel Text and New York. He has also been a long term collabo-
rator with Peter Saville which has resulted in such
diverse work as identities for Givenchy, ‘Original
Modern’ for Manchester, the England football team
S U P P O RT E D L A N G UAG ES kit and the logo for Kate Moss.
Barnes has also been an advisor and consultant on
Afrikaans, Albanian, Asturian, Basque, Bosnian, numerous publications, notably Wallpaper*, Harper’s
Breton, Catalan, Cornish, Croatian, Czech, Danish, Bazaar and frieze. His interest in the modern and ver-
Dutch, English, Esperanto, Estonian, Faroese, nacular is encompassed in his type design ranging
Finnish, French, Galician, German, Greenlandic, from the contemporary such as for Björk, through to
Guarani, Hawaiian, Hungarian, Ibo, Icelandic, the extensive Chiswick typeface (2017). Whilst consul-
Indonesian, Irish, Gaelic, Italian, Kurdish, Latin, tant to The Guardian he designed Guardian Egyptian
Latvian, Lithuanian, Livonian, Malagasy, Maltese, with Christian Schwartz. He has designed typefaces
Maori, Moldavian, Norwegian, Occitan, Polish, for the National Trust in England, the numbers for
Portuguese, Romanian, Romansch, Saami, Samoan, Puma at the 2010 World Cup and also the England
Scots, Scottish Gaelic, Serbian (Latin), Slovak, football team for Umbro. For Commercial Type he has
Slovenian, Spanish (Castillian), Swahili, Swedish, codesigned Publico with Schwartz, and independently
Tagalog, Turkish, Walloon, Welsh, Wolof Austin, Dala Floda and Marian.
Following the redesign of The Guardian, as part of
the team headed by Mark Porter, Barnes was awarded
the Black Pencil from the D&AD. They were also nomi-
C O N TACT nated for the Design Museum ‘Designer of the Year’.
In September 2006, with Schwartz he was named
Commercial Classics office 212 604-0955 one of the 40 most influential designers under 40 in
110 Lafayette Street, #203 fax 212 925-2701 Wallpaper*. A year later The Guardian named him as
New York, New York 10013 commercialclassics.com one of the 50 best designers in Britain.
Berton Hasebe (born 1982) moved from Hawaii

to study and work in Los Angeles, obtaining a BFA
C O PY R I G H T from Otis College of Art and Design in 2005. In 2007
he moved to the Netherlands to study type design
© 2019 Commercial Classics. All rights reserved. through the Type and Media masters course at the
Commercial Classics® and Brunel® are registered Royal Academy of Art (KABK) in The Hague. Berton
trademarks of Schwartzco Inc., dba Commercial Classics. has resided in New York since 2008, and was a staff
designer with Commercial Type from 2008 to 2013,
This file may be used for evaluation purposes only. when he left to start his own studio.
Berton’s typefaces have been awarded by the New
York and Tokyo Type Directors Club, the ATypI,
and the Brno Biennial. In 2012 he was awarded Print
Magazine’s 20 Under 30 Award. Berton currently
teaches typography at Parsons and has taught type
design at The University of the Arts in Philadelphia
and the Type@Cooper program at the Cooper Union
in New York City.

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Brunel

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RECOMMENDED MINIMUM & MAXIMUM SIZES

Even following setbacks in 1711 through the

Conduct of competing European firms

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The modern relies on a higher

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INHABITED FOR OVER 500 YEARS

TUGADH AITHEANTAS OIFIGIÚIL

THE EPONYMOUS PROTAGONIST

VILLAGES INCLUDE ARROCHAR

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IL LEGAME CON IL PAESAGGIO

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As Bodoni is Italian and Didot French, so Brunel is a

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IL 1º GIUGNO 2016, IN ATTUAZIONE DELLA LEGGE

OVER 274,000 INTERNATIONAL ARRIVALS IN 2018

A TELEPÜLÉS LAKOSSÁGA AZ ELMÚLT ÉVEKBEN

OMFATTER 58 KOMMUNER OG DÆKKER 7.28 KM2

HE DESIGNED IT AS AN OBSERVATION CENTER

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GEBREVETTEERD HOFLEVERANCIER VAN BELGIË

GABARDINE HAS MORE WARP THAN WEFT YARNS

2009 STRUCTURAL CHANGES TO GOVERNMENTS

FAZ FRONTEIRA A NORTE E A NOROESTE COM A

DATORITĂ POZIȚIEI STRATEGICE ÎN CENTRUL

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RO M A N S M A L L CA PS the spanish war, which began in 1739, and the

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RO M A N S M A L L CA PS the spanish war, which began in 1739, and the

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Every introduction to the problems of aes- Every introduction to the problems of

edifices. Aesthetics, then, came into being as

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Every introduction to the problems of aes- Every introduction to the problems of

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Methodologies of Aesthetics Methodologies of Aesthetics

The State of Criticism The State of Criticism