Beautiful.

via CreativeBloq

Finding just the right typography for a project is a classic conundrum for a designer. Do you go all out for something unique to give the piece real character, or is it better to opt for something neutral and classic that doesn’t overwhelm the rest of the design?

In order to be both versatile and consistent within a project, without becoming repetitive, it helps if a typeface includes an extensive family of fonts that cover different styles, weights and widths – this also takes the sting out of pairing complementary typefaces.

The notion of an extended, organised type family (or ‘superfamily’ if it contains different classifications too, such as a serif and a sans serif) is a relatively new concept, and has only been around as we know it today for just over a century – but nowadays there are plenty to choose from. We’ve rounded up 20 of the best to help with all manner of design projects.

Check out the full list…

Just a few days after the Hamilton Wood Type & Printing Museum‘s annual Wayzgoose type conference in Two Rivers, Wisconsin, Bill Moran, the museum’s artistic director, announced that the invaluable repository of typographic history will likely be evicted from an original Hamilton building that dates to 1926. “We don’t know where we’re moving to and we don’t know how we’re going to get there,” he told me.

Read more at Imprint: Help Save the Hamilton Wood Type Museum

Donate here to save the Wood Type Museum!

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via Imprint Magazine

Type meets thread in a new trend for hand-stitched typography

Handmade typography with paper and set design is becoming popular amongst creatives working in all fields for the last few years. Few, however, have taken to stitching. One such illustrator who experiments with type and thread is Peter Crawley, his January piece being a good example of what’s possible with the often frowned upon medium.

Another illustrator experimenting with thread and craft is Australian Dominique Falla. Her work for Wired where she illustrated the logo using nails and string being particularly cool.

Read more: The hottest typography design trends for 2012 http://www.dnjg.be/wordpress/2012/08/27/the-hottest-typography-design-trends-for-2012/#ixzz2C75iK3h3

Is there a way to know what fonts will work together? Building a palette is an intuitive process, but expanding a typographic duet to three, four, or even five voices can be daunting. Here are four tips for navigating the typographic ocean, all built around H&FJ’s Highly Scientific First Principle of Combining Fonts: keep one thing consistent, and let one thing vary.

It’s the interplay between fonts that gives them energy. The more distant the moods in a typographic palette, the friskier the design will be. Here, three fonts with distinctive silhouettes have been chosen for their contrasting dispositions: the unabashed toughness ofTungsten is a foil for both Archer’s sweetness, and the cheekiness of Gotham Rounded.

Tungsten from $99		Gotham Rounded fr. $179		Archer from $149

Three type families with nineteenth century roots, thrown together in a cheerful typographic riot. Choosing type families with different features helps prevent redundancy: here, the brawny variations of The Proteus Project are reserved for headings, Sentinel’s six weights of romans and italics recommend it to text, and Knockout’s nine different widths helps the sans serif fill in the cracks.

Proteus Project from $99		Knockout from $169		Sentinel from $199

What do a neoclassical modern, a suave sans serif, and a sporty slab have in common? All are meditations on precision, though each has a different texture. H&FJ Didot achieves its crispness through the thinnest possible serifs, Verlag through its insistently geometric motifs, and our new Vitesse typeface through its pairing of machined edges and racy curves. Together, these three mechanical faces create a dramatic typographical tension.

H&FJ Didot from $299		Verlag from $199		Vitesse from $199

A clever way to combine typefaces with similar proportions is to assign each a different purpose, and to limit each to a specific range of sizes. Here, two hard-working typefaces are assigned supporting roles: the seriffed Mercury serves for text, and the sans serifGotham furnishes all the annotations. The star of the show is the sophisticated Hoefler Titling, which preserves its spotlight by appearing only occasionally, and always in large sizes.

Mercury Text from $199		Hoefler Titling from $199

Read more: Four techniques for combining fonts • Studiodaas Magazine http://www.dnjg.be/wordpress/2011/09/03/four-techniques-for-combining-fonts/#ixzz2C1GtN4vW

Here we are presenting 11 jQuery plugins for you to improve your typography. With jQuery plugins, you can implement superb things on your website quite easily. In this round up, we have put together some jQuery plugins that will allow you a better control on your website for web typography. We all know that typography is an important element in a web design and achieving a high level of typographic style can make your web design look eve more stunning and attention grabbing.

Read more: 11 Most Useful jQuery Plugins To Enhance Typography http://www.dnjg.be/wordpress/2012/08/28/11-most-useful-jquery-plugins-to-enhance-typography/#ixzz2ADkqDyOj

Found a wonderful collection of Google web fonts maintained by CHAD MAZZOLA.

There are over 400 typefaces in the Google web fonts directory. Many of them are awful. But there are also high-quality typefaces that deserve a closer look. Below are examples of these typefaces in action. Click the examples to get the typeface from the Google web fonts directory.

http://hellohappy.org/beautiful-web-type/

http://imprint.printmag.com/illustration/jessica-hische-does-drop-caps-for-the-classics/