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14 styles,
2008
  • Desktop
    $350
  • Web
    $350
  • App
    $525
48px
Stag Sans ThinStag Sans Thin
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
48px
Stag Sans LightStag Sans Light
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
48px
Stag Sans BookStag Sans Book
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
48px
Stag Sans MediumStag Sans Medium
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
48px
Stag Sans BoldStag Sans Bold
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
48px
Stag Sans BlackStag Sans Black
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
About

Stag is characterized by many distinctive details, so the trick in designing a companion sans was to pinpoint the right balance between the rounded terminals, which connect it to the original Stag, and the blunt terminals, which give the family a no-nonsense muscularity. The end result is a sans that is interesting in headlines but not distracting at text sizes. Stag is emphatically a headline face, not a text face, but Stag Sans was drawn – at Esquire’s request – to bridge this gap. Extremely short ascenders and descenders are easier to swallow in a sans serif, as demonstrated by many classic agate typefaces, and Stag’s open counterforms, designed originally to faciliate heavy, blocky terminals, adapted well to readability at more normal weights in the sans.

Features

Case sensitive forms, standard ligatures, tabular lining figures, fractions, subscript / inferiors, superscript / superiors, six stylistic sets

Languages

Afrikaans, Belarusian, Bulgarian, Catalan, Chechen, Czech, Danish, Dutch, English, Esperanto, Estonian, Finnish, French, Gaelic (Irish), Galician, German, Hungarian, Icelandic, Ingush, Italian, Kazakh, Kurdish (lat), Kyrghiz, Latvian, Lithuanian, Mongolian (cyr), Mongolian (lat), Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovene, Spain, Swedish, Tatar, Turkish, Turkmen, Ukrainian, Uzbek (lat)

Authors

Christian Schwartz

Christian Schwartz, a type designer and one of the founders of the type foundry Commercial Type, lives and works in New York. A graduate of Carnegie Mellon University in Pittsburgh, Pa., he worked for a time at MetaDesign in Berlin. After returning to the United States, he worked at type studio Font Bureau, going independent in 2001. In 2007, he and London designer Paul Barnes founded Commercial Type. The studio’s projects include typefaces for The Guardian, Esquire, T (The New York Times Style Magazine), the Empire State Building and Sprint. Also in 2007 Schwartz was awarded the prestigious Prix Charles Peignot, given to designers under 35 years of age for “outstanding contributions to type design.” He has been on the short list of the Museum of Design, in London, as Designer of the Year and was rated among the top 40 most influential designers under 40 years of age by Wallpaper* and on Time’s list of top 100 designers.

Typefaces by Christian Schwartz: FF Bau, Farnham, Graphik, Guardian, Neue Haas Grotesk, Kommissar, Neutraface, Produkt, Stag

Commercial Type

Based in New York and London, Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, most notably the award winning Guardian Egyptian. The company publishes retail fonts developed by Barnes and Schwartz, their staff, and outside collaborators, and also represents the two and their team when they work together on type design projects. Following the redesign of The Guardian, the team headed by Mark Porter, including Barnes and Schwartz, was awarded the coveted Black Pencil by the D&AD. The team was also nominated for the Design Museum’s “Designer of the Year” prize. In September 2006, Barnes and Schwartz were named two of the 40 most influential designers under 40 in Wallpaper*.

Ilya Ruderman

Ilya Ruderman, a type and graphic designer and teacher, lives and works in Moscow. He is a graduate of the Moscow State University of the Printing Arts (2002), where his graduation project was done under the supervision of Alexander Tarbeev. He has a MA degree in type design from the Type & Media program at the Royal Academy of Art in the Hague (2005). After completing the program, he returned to Moscow, where he has collaborated for a number of media: Kommersant, Afisha, Moskovskiye Novosti, Bolshoi Gorod and Men’s Health Russia. In 2005-2007 he was art director for Afisha’s city guidebooks, following which he was art director for RIA-Novosti, a news agency, for several years. Since 2007 he has also supervised the curriculum in type and typography at the British Higher School of Art and Design in Moscow. He has been very active as a consultant on Cyrillic since 2008. In 2014 he founded CSTM Fonts with Yury Ostromentsky.

Typefaces by Ilya Ruderman: BigCity Grotesque Pro, Kazimir, Permian (a typeface-brand for the city of Perm) and Cyrillic versions of: Austin, Dala Floda, Graphik, Marlene, Moscow Sans (as a consultant), Typonine Sans, Thema.

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