Tag Archives: glyph

The Most Versatile

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The 20 most versatile font families

via CreativeBloq

top20families

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…

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Hamilton Type Museum Likely to Be Evicted!

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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

Four techniques for combining fonts

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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 Gotham Rounded Archer
Tungsten Gotham Rounded Archer
 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.
The Proteus Project Knockout Sentinel
The Proteus Project Knockout Sentinel
 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 Verlag Vitesse
H&FJ Didot Verlag Vitesse
 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 Hoefler Titling Gotham
Mercury Text Hoefler Titling Gotham
 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

11 Most Useful jQuery Plugins To Enhance Typography

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Brought to us by Studiodass Magazine

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

A showcase of the best typefaces from the Google web fonts directory.

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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/

The 100 Best Typefaces of All Time

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Where do your favorite fonts rank? Did they make the list?

How to change your default font in InDesign

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Ever created a new document in InDesign and your default typeface is Minion! or Times or some other rando font you will most likely change immediately? Feels like we can  cut out a step here. Did a little digging, here’s how to change the default font in InDesign.

1. Run InDesign, but don’t open a document.

2. With no document open, select the Type tool and use the fields in the Control panel to choose the font, size and any other attributes that you want for the defaults.

3. Quit InDesign.

Now, the font that you chose in step two will be the default for all new documents that you create.

PLEASE NOTE: Doing it with a document open will change the default in that doc. Doing it without a doc open will change it in new documents. Documents that have been previously created will retain their defaults until you change them in each document.