The ability to successfully combine typefaces is
clearly a valuable design skill. But with over 100,000
fonts to choose from, the task can seem daunting.
The good news is that there are four basic rules for
combining different typeface designs. Follow these
and you are well on your way to successful typographic
mixology.
The basic rules for combining different typefaces are:
- The family comes first
- Embrace diversity
- Combine similar proportions
- Limit combinations
1. The family comes first
The safest and easiest way to take advantage of
multiple typeface designs is to rely on a single, large
type family for your choices. The various weights
and proportions within the family provide a range
of versatility. Since all the designs are from the same
family, you are also guaranteed that there will be
no stylistic clashes. Even the simplest type family of
roman, italic and bold can provide reasonable type
mixing capabilities.
For most projects, however, a large family of
several weights—each with italic counterparts—will
provide more flexibility. Larger type families provide
more latitude of choice. So if one weight is not quite
right, you’ll probably be able to find one that is.
Some type families also have condensed designs that
can be put to good use in headlines and subheads or
where space is at a premium.
There are also typeface families—sometimes
called “super families”—that are made up of different
subfamilies. ITC Stone is a good example. The
subgroups of the Stone family consist of Serif, Sans,
Humanistic and Informal. Each subfamily has roman
and italic versions in three weights. The four subfamilies
share the same cap heights, lowercase x-heights,
stem weights and general proportions. Each typeface is
designed to stand on its own as a useful communication tool. This guarantees typographic variety when the
designs are used together. Thesis, Mentor, Compatil
and ITC Legacy are other examples of the many super
typeface families that are currently available.
2. Embrace diversity
While working “in-family” is good, using very different
typeface designs is usually better. Combining
distinctively different typeface designs can create a
more obvious hierarchy and generate higher levels of
visual interest. The typographic “Golden Rule” for
combining fonts from unrelated families is simple:
the more dissimilar the type designs, the better the
mix. Counterpoint is a stronger typographic tool
and easier to use than harmony.
The least risky “out of family” contrast is combining
a serif with a sans serif typeface. Select virtually any sans serif design, combine it with just about
any serif font and you’re just one step over the line
from absolute conservatism. Combine Avenir with
Bembo, Slate with Dante or Franklin Gothic with
Cartier Book, and you almost can’t go wrong. One
thing to keep in mind: A little diversity helps here
also. Serif and sans serif typefaces that have similar
design roots like Goudy Sans and Tiepolo, which are
both based on calligraphic forms, can be combined,
but the result may not be as successful as two designs
with strong visual contrasts.
If you want to use two serif designs instead of
a serif and a sans, it’s best to choose very differentappearing
typefaces. Try an old style type like ITC
Weidemann with a modern face like Bodoni or ITC
Fenice, or combine a transitional like Baskerville with
a glyphic like Friz Quadrata.
Sometimes two serif faces from similar stylistic
categories can be combined if the design and/or
weight differences between them are markedly dissimilar—
for example, the delicate stroke weight
and stately proportions of ITC Berkeley Oldstyle
will provide a strong counterpoint to the lively and
slightly chubby Tyke.
With the variety of typefaces available, there are
hundreds—probably thousands—of potentially good
combinations. Combining just sans serif designs,
however, becomes more challenging. The problem
with combining two sans serif typefaces is that most
are similar in design—especially to average readers.
Strong typographic contrasts typically don’t create
problems, but when typefaces from different families
that are similar in design are combined, design
imbalance is often the result. The casual reader may
not even notice that the typefaces are different, but
will probably be aware of a subtle, discordant undertone
within the design (think navy socks paired with
black shoes).
If you think you must use two sans serif typefaces,
keep in mind that only vastly different styles
and weights from these families should be combined
on a page. A 19th-century sans serif such as Franklin
Gothic might work with a geometric sans serif like
Avenir because the two are stylistically different
from each other. Sans serifs that are similar in design
almost never work in harmony.
3. Combine similar proportions
If you are combining different typefaces, especially
in text copy, they should have similar proportions.
Their respective lowercase x-heights should be close
to the same size, ascenders and descenders ought to
be about the same length and the general width of
the characters should be similar. For the same reason
that tempo should not change arbitrarily in music,
combining markedly different typefaces in text
copy is generally not a good idea. Combining text
typefaces with dissimilar proportions can disrupt the
rhythm—or typographic color—of the copy.
Typographic color can have as much impact on
the readability of a block of text copy as the choice
of typeface or the size it is set. Typefaces of markedly
different proportions in the same copy block
can make line spacing appear uneven and the text
copy mottled. A page of copy that is uneven in color
is distracting to the reader and can even disrupt the
horizontal motion across the page. A column of text
set in Truesdell, for example, is normally easy to
peruse. Readers may notice the face because it is relatively
distinctive, but this should not get in the way
of the reading process. Truesdell sets with even typographic
color. Introduce emphasis or clarification in
the form of a typeface like Neo Sans or Leawood and
the copy block becomes a distracting combination of
typographic shapes and weights. At best, the column
looks cluttered; at worst, it becomes difficult to read.
4. Limit combinations
Don’t use a typeface if you don’t need to. There is
a thin line between typographic variety and font
clutter. Where one typestyle is rarely enough, four is
almost always too many. Have a reason other than
“because I can” when using more than two or three
different typestyles. Each typeface should provide a
definite and specific purpose within the context of
the piece you are designing. Used sparingly, different
typefaces can provide emphasis and guidance
to the reader. Think of the different typefaces as
graphic road signs; just a few, well placed, will help
the reader navigate through the content. Too many
can create distractions and confusion.
Four rules for limitless choices
With the seemingly limitless fonts that can be purchased
online, availability of choices for combining
typefaces is not a problem. Selecting from all those
faces, however, can be. Following the aforementioned
four simple rules will go a long way toward
producing successful combinations.
SIDEBAR: Use the Display Version
Type set larger than 14 point is usually considered
to be at a “display” size and type set
smaller than 14 point is generally defined as
“text” copy. With current technology, however,
any typeface can be set at virtually any
size. The problem is that typefaces developed
to be read as continuous text do not
generally make the best display faces.
A problem with many serif typeface designs
is that they do not enlarge very well. Most
were drawn to work within a relatively narrow
band of sizes. When they are enlarged,
shapes that appear subtle at 12 point can
begin to look ungainly at 72 point, and
stroke weights that are hairlines at small
sizes may become downright chunky at 48
point and above. The result is that a svelte,
sprightly wood nymph of a typestyle at 12
point begins to take on the proportions of a
linebacker when set at 72 point.
Some traditional and new text families do
have special weights that have been drawn
to work exceptionally well at large sizes. If
you want to combine serif typefaces, consider
using one of these special designs for
the big type. They have been drawn with
shapes and proportions that perform best
at large sizes. Big Caslon, Throhand Pen and
ITC Bodoni Seventy-Two are just three of
many examples of fonts developed specifically for setting at large sizes.
SIDEBAR: Don’t Combine Electronic Distortions
With current type imaging technology it
is easy to slant and embolden letterforms.
Resist the temptation. The end result will
almost always look bad. When italic types
are designed properly, character proportions
and shifts in stroke weight are
adjusted to be optically pleasing and to
ensure ease of reading. The same holds
true for bold designs. More weight is
added to the horizontal axis than the vertical
to maintain a proportional relationship
with the lighter weights and enable the
eye to travel smoothly across the page.
Electronically distorted type ruins character
stroke weights and plays havoc with
sensitive character proportions. The result
will almost always be unattractive and at
times even illegible typography. Always use
“drawn” designs when combining typefaces.
