![]() ![]() Some are long and lean, some are short and squat. Do they all have the exact same dimensions? No – some of them are uniformly round and many are more oval than circular. Shape of character: Take a look at the “o” in ten different fonts.Weight: Some fonts have thin lines some have thick - the former is a light weight and the latter, heavy.X-height and glyph width: X-height is the height between the bottom and top of lower case letters, like “x” or “a”, and glyph width is how wide the characters are.Even if your typefaces are completely dissimilar, if they share one or two of these attributes it can make the difference between a successful and failed pairing: The key is to find types that are different, but still have enough in common that they can work together. This is a more difficult way to pair fonts, but can often be a more original and successful method for making your type use unique. And there are tons of superfamilies around, some awesome ones include Museo, Fruitiger, and Rotis. Try one bold and one italic, part all caps and part lowercase, work with different sizes. ![]() The key to using concordance is that you should experiment with this! It doesn’t just have to be a serif and a sans-serif paired. It includes versions in Blackletter (Gothic), Handwriting, Sans Serif, Typewriter, and Calligraphy (script) - all in the same family.īecause these typefaces are designed to fit in the same family, they share key characteristics that help them work well together, which makes this the easiest way to pair fonts in a design. A famous example of this is the Lucida font.
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