Best Practices of combining typefaces - article

Article outlining some good methods for putting different typefaces together in a piece of work.

Reference:
Bonneville, D (2010) Best Practices of Combing Typefaces [Online] Available at: http://www.smashingmagazine.com/2010/11/04/best-practices-of-combining-typefaces/, Viewed on: 18/01/2014.



"Trade Gothic wants to get to the facts, but Bell Gothic wants to have some fun. This kind of tension is likely not part of the design goal, and should be avoided."

Here Bonneville raises the point that each type's personality works in relation to the message it is sending, and also then mirroring the texts meaning.  Considering first the attributes of a type helps determine its personality, then knowing that personality helps us know the message that is being conveyed by using this typeface in this context, finally it is clear what kind of message this makes the text read as.

attributes of a typeface indicates personality.  Personality of a typeface in conjunction with the meaning of the text determines the mood created.  This mood can enhance the communication with reader or hinder or distract or convey the wrong meaning altogether.

"Typefaces of the same classification, but from different typeface families, can easily create discord when combined. Their distinct personalities don’t play well off of each other and create a kind of typographic mud if careful attention is not paid."

Bonneville outlines the visual tension subtly created by putting two typefaces from the same or simular sub category next to each other in a project.

"Slab serif typefaces are known for their distinct personality, and they like to dominate any area in a design they are used in. Putting two slab serifs together can create a needless and unsightly tension."

Being aware that slab serifs, although varying most strongly in characteristics within its own sub category, the command the attention of the eye too much when used more than once in a project.

When using a variety of typefaces within a project, giving each typeface a rule and sticking to that throughout the project assists visual understanding, as Bonneville outlines
"they all pull together into a cohesive design, because each role assigned to a font is fixed and is very clearly defined in the typographic hierarchy"

It is possible to still confuse communication through typeface choices if do not apply contrast of weight within the heirarchy set, as Bonneville backs up
"A sure-fire way to muddy your typographic hierarchy is to fail to distinguish elements in the hierarchy from one another."

Another important factor to consider is how the personalities of the typefaces create the mood of the project
"Mixing the mood of typefaces can draw attention to the typography instead of the message, which results in a poor design."

Not overloading the project with many high personality typefaces is important, as its almost like a personality clash in that the different qualities and moods they represent being comfortable in contradict each other.  This and the lack of chemestry between the different personalities is problematic.

Do not contrast to the point of visual awkwardness

Or, stick to two typefaces - can pick two or three fonts within each of the family as know will combine and compliment well together.

In terms of the aesthetics of the piece, correctly noting the negative spaces and colour of the typefaces allows assessment of the  suitability of visual communication - its it clear, or muddy, is it cluttered or has breathing space?
"Using different point sizes helps distinguish the typographic hierarchy and increase the variety of typographic color."