![]() ![]() It can be time-consuming trying to decide on the perfect fonts to combine, but when you have a predetermined selection already, it takes some of the pressure off and automatically helps you create a more cohesive look. One of the benefits of limiting your typefaces for a project to one font family is that it makes the design process a little more streamlined. When pairing fonts that come from the same family, you have to plan carefully to create contrast, varying things like font size, weight (such as light, regular, and bold), and case (upper, lower, small caps).įamilies that come with extra features like italics or extended or condensed versions offer even more leeway for getting creative with your font arrangements. If the fonts look basically the same, then that’s a good indication that your design could benefit from turning up the contrast between your type choices. Here’s an easy way to test whether two or more fonts might be too similar: Place them side by side on your screen, then sit back a little and squint. Typefaces that are somewhat different but have comparable weights, proportions, and/or letter shapes may be similar enough to make your design look confusing and indistinct, especially when used at the same size-like the pair below, despite the fact that one has serifs and the other doesn’t. And any differences that are discernible may look more like a mistake than a purposeful choice.īut fonts don’t have to be exactly alike to be incompatible. ![]() You’ll have trouble establishing a hierarchy because the fonts aren’t visually distinguishable from each other. On the flip side of Rule #5, choosing fonts that are too similar (i.e., don’t have enough contrast) becomes problematic. This design obviously has a retro/1950s theme, so the fonts have been chosen to reflect that context and are similar to those found in advertising and signage from the period. The magazine layout below combines a display typeface with an easy-to-read sans serif for the body copy.Īs another example, font styles can play a big role in cementing the overall look of your design, especially if you’re going for a certain aesthetic. Sometimes you’ll want something that really pops, and other times the context will require a font that’s not distracting, such as for long passages of text. Part of the process will be deciding whether display typefaces or more neutral fonts (or some combination of the two) are most appropriate for your project. This ties back in with the font personalities discussed in Rule #1. A good starting point for choosing fonts that fit the context of your design is to match the attributes of your intended message with the perceived traits of a typeface. In addition to size, font styles also affect readability. The text should be easily readable at the size it is going to be displayed, and clarity is especially important for small type. ![]() Where your design will appear should help you determine what fonts will work for your project. The most important textual element is generally (though not always) the largest and the weightiest. Then, make your font style, size, and arrangement choices accordingly. Or here’s another way of approaching it: Decide what information is essential-what must stand out at first glance, like a company name, a headline, a special offer-and what is less important. When you’re picking fonts for a project, just think about what part you want viewers to look at first. A hierarchy can be established for any type of design, not just layouts with titles and body copy. ![]()
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