Posted on 11.14.2012 by typecrazy11

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 Threads

Posted on 11.13.2012 by typecrazy11

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.

Four techniques for combining fonts

Posted on 11.12.2012 by typecrazy11

Four techniques for combining fonts via H&FJ

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.