Selecting and Combining Typefaces

Susan G. Miller

One of the most often asked question about type is: of contrast are more visually appealing and attract more
Which typefaces work well together? Finding the right attention than with a concordant relationship.
combination of typefaces can make the difference between
a good design and a great one. But with so many faces to Type Characteristics
choose from, how do you decide which ones will look best
together? Although typeface selection is a very personal It is important to gain an understanding of the characteristics
subjective decision, this paper will address several and terminology related to typography to be able to combine
strategies that will help narrow down the search and and mix typefaces together. To be able to understand the
ultimately help make the most effective type combinations. differences between typefaces, it is important to be able to
see the differences. Many typefaces will look similar to the
unskilled eye at first glance, but in time it is easy to see
how they differ, but also understand how those differences
are important to the effectiveness and appeal of a particular
job (3). Listed below are some common terms and
characteristics to become familiar with before beginning
to select and combine type.
INTRODUCTION Font. A set of characters in the same size comprising all the
letters of the alphabet in both upper- and lowercase
One of the document designer’s most important tools is including all the figures and symbols of punctuation.
type. Type is everywhere and most of us take it for grated,
yet paradoxically, successful type design is one that Typeface. An alphabet designed with consistent visual
does not distract the reader. Type should work to make it characteristics.
easier for the reader to access information, as opposed to
distracting them with either the design of the typeface or Type family. All the variations of a specific typeface design,
the combination of typefaces (1). such as italic, bold, extra bold, condensed, etc.

Type is the basic building block of any printed page or web Stroke. The main line of a character. This line can appear
site. In almost all cases it is imperative to design with more either straight or curved.
than one typeface. But how do you know which typefaces
work effectively together? When combining typefaces, there Thick and thin. The contrast in the thickness of the curved
is usually more than one element on a page even with strokes.
standard technical document that consist of plain body text
that typically includes headlines, subheads, captions, x-heights. The height of lowercase letters. Specifically the
figures, and page numbers. Within these dynamics on the lowercase x, not including ascenders and descenders. It is
page, a relationship is established that is either concordant, the x-height that creates the impression of the font’s size.
conflicting, or contrasting (2).
Text Type (or body text). Type used for continuous reading,
A concordant relationship occurs when only one type family usually set between 9 and 12 points, depending on the x-
is used and allows the page to remain harmonious. The use height, column width, and other factors.
of only one typeface may be all that is necessary for some
designs that require a formal, quiet appearance without Display Type. Type used for non-continuous reading
much variety in style, size, and weight. Secondly, a (headings, subheadings), usually set at 14 points and above.
conflicting relationship occurs when typefaces are combined
that are similar in style, size, and weight. The similarities Typeface Categories
are disturbing because the visual attractions are not the same
as with concordant, but neither are they contrasting, so they There are several thousand digital typefaces available and
conflict or most of the time it looks like a mistake. Concord many more being designed every day. Most typefaces can
is a solid and useful concept but conflict should be avoided. be divided into the following seven categories: oldstyle,
The final relationship of contrast occurs when separate modern, slab serif, sans serif, fringe, script, and decorative
typefaces are combined that are clearly distinct from each (4). Figure 1 illustrates an example of each of the seven
other. The combinations of typefaces that achieve this level different typeface categories. It is important to become
aware of the similarities between broad groups of type Decorative. The decorative typeface category is typefaces
designs, because it is the similarities that causes the that create a definite look and emphasize the content.
conflicts in type combinations. This is why it is important Similar to fringe and script typefaces, decorative typefaces
to understand the different typeface categories so when can destroy a design if overused.
selecting two or more typefaces for a specific use they are
selected from more than one of the following different
typeface categories.

Oldstyle. The oldstyle typeface category has a warm and Oldstyle: Garamond
graceful appearance and is the best choice for setting
readable, lengthy bodies of text. The main body text of this
Modern: Modern
paper is set in an oldstyle typeface called Times New
Roman. Oldstyle typefaces always have serifs. The serifs of
Slab Serif: Century Schoolbook
the lowercase letters slant and the serif connect to the main
stokes with a slight curve. Furthermore, the strokes of the
San Serif: Arial Black
letterforms make an overall gentle transition from thick to
thin.
Fringe: Chiller
Modern. The modern typeface category is not very readable
Script: Edwardian Script
and is not the best choice for lengthy body text. Although
modern typefaces can have a sparkle and an elegant feel to
Decorative: Broadway
them, they also tend to have a harsher and colder appearance
Figure 1 – Examples of typeface categories.
than the oldstyle typefaces. Like oldstyle, modern faces
have serifs, but the serifs on all characters are horizontal and
very thin, with little or no curve where the serif meets the
stroke. The strokes that create the letterforms change Combining Typefaces
radically from thick to thin. Some typography experts say that no design should use
more than two typefaces or families, but one should not feel
Slab Serif. The slab serif typeface category also has serifs, limited by such an arbitrary rule. There are times when one
and the serifs are thick, fat, horizontal slabs. The stokes that type family is sufficient and times when more than two
create the letterforms may make a very slight transition from typefaces can be useful. When deciding how many faces to
thick to thin, or there may be no transition at all in some use, remember that the point of using different faces is to
faces. In addition, slab serif typefaces have a more achieve some differentiation between them, for example,
regimented and heavier appearance than do oldstyles. body text and headlines. If a design has very little text, then
the variety of more than one typeface might not be needed,
San Serif. The san serif typeface category has no serifs at and the choice may be to work with just one type family. On
all. The strokes that create the letterforms have almost no the other hand, if a design has a lot of text or needs to
visible transition from thick to thin. Furthermore, the san project more than one character, then the use of more than
serifs tend to have very large x-heights that create quite a two typefaces may be more appropriate (5).
presence on the page.
When working with one typeface it is important to consider
Fringe. The fringe typeface category is typically typefaces selecting it from a type family with a lot of flexibility. This
that are distorted, deliberately trashed, and often difficult to allows for variety without being concerned whether the
read. But on the other hand they are very identifiable and typefaces go well together. This variety and flexibility is
fun to use. They are often referred to as grunge typefaces. found in typeface families that offer several weights of the
same typeface. The use of typeface weights will be
Script. The script typeface category is very easy to identify discussed later in this paper as a solution for contrasting
because it emulates handlettering in many varieties. Some type. Furthermore, the selection of two or more typefaces
of the most common varieties of script typefaces are requires a little more attention to make sure they are really
calligraphic as seen in wedding invitations and drafting as in different. Using two typefaces that look very much alike
architects’ drawings. It is not uncommon for some script will not allow the reader to tell them apart and will more
typefaces to connect and for some to not connect. Similar to than likely look like a mistake. Since the point of using two
fringe typefaces it is important to remember not to overuse or more different faces is to draw some distinction between
script typefaces. different type elements, using look-alike faces defeats the
purpose.
Contrasting Type
When combing one, two, or more typefaces or typeface Franklin Gothic Book
families together the designer must provide the reader with
a clear differentiation between all the elements of type.
Franklin Gothic Medium
This is achieved by creating contrast through the relative Franklin Gothic Demi
relationships of size, weight, structure, form, direction, and
color. A reader should never have to try to figure out what is Franklin Gothic Heavy
happening on the page. The focus, the organization of
material, the purpose, the flow of information all should be Figure 3 – Examples of varying weights available in the
recognized instantly with a single glance. The following typeface family Franklin Gothic.
relationships describe various ways type can be contrasted.

Size. A contrast in size is fairly obvious by utilizing a large Structure. The structure of a typeface refers to how it is
point size with a small point size. As shown in figure 2 the built. Some faces are built very mono weight, with almost
contrast in size of the top solution that combines 38-point no discernible weight shift in the strokes, like with most san
type and 10-point type would be more effective than the serif faces. Others have a great emphasis on the thick and
bottom solution that combines 38-point type and 20-point thin transitions, like with most modern faces. And other are
type. To make size work effectively is important to create an built in-between. This why it is important to combine type
obvious difference in type size. faces from two distinctly different categories as described
earlier because typefaces within the same category have
very similar structures that would not visually create enough
contrast.

Typeface
C A T E G O R I E S
As shown in figure 4, the contrast in structure in the top
solution combines typefaces from two different categories
that would be more effective than the bottom combination
of typefaces from the same category. The first combination
mixes together the typefaces Times and Arial Black which

Typeface represent the categories of oldstyle and san serif

respectively. The other combination mixes the typefaces
Times and Garamond which both fall into the oldstyle
CATEGORIES category. Although they are different typefaces they have
very similar structures, which is why the combination of
using typefaces from the same typeface category should be
Figure 2 – Using type size to create contrast.
avoided. An easy way to choose contrasting structures is to
select one serif font and one sans serif font. Serif fonts
generally have a thick/thin contrast in their structures
Weights. The weight of a typeface refers to the thickness of
whereas san serif fonts are mono weight.
the strokes. The most common weights are light, normal or
book, semi-bold, bold, extra bold, and heavy. The different
weights available for the Franklin Gothic typeface family
are illustrated in Figure 3. When combining typeface
weights it is important to remember to avoid contrasting a Typeface Categories
regular weight with a bold weight. This combination is
never strong enough and a more effective contrast is always
achieved by combining a regular weight with a heavy
weight. An example of achieving the strongest contrast
Typeface Categories
would be to combine Franklin Gothic Book with Franklin
Gothic Heavy as opposed to combing Franklin Gothic Book Figure 4 – Using type structure to create contrast.
with Franklin Gothic Medium or Demi. It is important to
remember that contrast of weight not only makes pages
more attractive; it is one of the most effective ways of Form. The form of a letter refers to its shape. Typefaces
organizing information. may have the same structure but they can contrast in form.
An easy way to think of contrast of form is to think of caps
versus lowercase and roman versus italic. When working
with the combination of caps versus lowercase it is
important to remember that words are recognized not only
by their letters, but also by their forms, the shapes of the Color. Typographers have always referred to black-and-
entire words. All words that are set in capital letters have a white type on a page as having “color”. Color is created by
similar rectangular form and are forced to read the words such variances as the weight of the letterforms, the structure,
letter by letter which is why all caps is more difficult to read the space inside the letters, the space between the letters, the
than lowercase letters. Figure 5 illustrates the use of form space between the lines, the size of the type or the size of
when used in both uppercase and lowercase. The type in all the x-height (4). Color in black-and-white on the page not
uppercase has the same rectangular form as opposed to the only serves the purpose of contrast but also helps organize
type in upper and lowercase. It should also be noted that the information. Typically, bodytext on the page gives the
size is the only other contrast added in this example. appearance of a gray color, which contrast with the
headlines and subheads that are given a stronger weight
typeface that creates a darker appearance. As shown in
figure 7, the contrast in color is applied to the list of
TYPEFACE typeface categories through the varying weights of the
CATEGORIES letterforms. The type on the left creates the impression of a
Oldstyle lighter or grayer color as opposed to the darker black color
Modern to the right.
Slab Serif
San Serif
Fringe
Script Oldstyle Oldstyle
Decorative Modern Modern

Slab Serif Slab Serif

Figure 5 – Using form to create contrast with type.

TYPEFACE CATEGORIES
Direction. The obvious interpretation of using direction to
create contrast with type is to rotate type vertically or on an San Serif San Serif
angle. It is also important to keep in mind the aesthetics or Fringe Fringe
communication of the piece when utilizing direction of type.
Script Script
Another way to create direction on the page is illustrated
below in figure 6. The words “Typeface Categories” creates Decorative Decorative

a line of type that has a horizontal direction and is

contrasted with the vertical direction of the listing of Figure 7 – Using color to create contrast with type.
typeface categories in a thin, tall column. The vertical
direction is emphasized even more through the additional
line spacing. The contrast of size and structure are also SUMMARY
utilized along with direction in this example.
It is most important to become aware of the “big picture”
taking into account all the possible text elements that you
Oldstyle may need to use (body text, captions, headings, etc.) Below
is list of step to consider when combining typefaces for
Modern these specific text elements.
Slab Serif • Look for typefaces that look good together and try mixing
serif and sans serif faces that relate to each other (similar
TYPEFACE CATEGORIES feel, good transitions).

San Serif • Check to make sure all the members of the type family
are present and don’t use the computer’s version of italic;
Fringe use the type designer’s version and check to see that all
the characters and symbols you will need are present in
Script the font character set.

Decorative • See how the document looks with various elements such
as the longest and shortest paragraphs, captions, headings,
Figure 6 – Using direction to create contrast with type. etc. and then try these elements in combinations.
• Most importantly, look for typefaces that are readable and
fit the tone of the document.

A good rule of thumb is to never use more than three

typefaces on any page, and preferably to stick to only one or
two. In selecting two fonts to use, it’s a good practice to
select one serif and the other from the sans serif family. This
allows for a nice contrast, and so long as a few other basic
guidelines are followed this will ensure that the page is
attractive and easy to read. As a final point, some typefaces
are so versatile that they can be used over and over for a
variety of applications. Becoming familiar with these faces
and knowing how to manipulate them for a range of effects
allows for handling almost any type problem.

REFERENCES
(1) Bastoky, G., Fundamentals of Document Design, Web
Site: www.bastoky.com/, 2001.

(2) Williams, R., The Non-Designer’s Design Book,

Berkeley, California: Peach Pit Press, 1994.

(3) Stizver, I., Type Rules: The Designer’s Guide to

Professional Typography, Cincinnati, Ohio: North Light
Books, 2001.

(4) Williams, R., The Non-Designer’s Type Book, Berkeley,

California: Peach Pit Press, 1998.

(5) Brady, P., Using Type Right, Cincinnati, Ohio: North

Light Books, 1988.

Susan G. Miller
Assistant Professor
Purdue University
Department of Computer Graphics Technology
1419 Knoy Hall, Room 331
West Lafayette, Indiana 47907-1419
765-496-1709
[email protected]

Susan Miller received her Master of Science from Purdue

University and her Bachelor of Science in Industrial Design
from The Ohio State University. Prior to joining the faculty at
Purdue, she worked as a professional graphic designer for
eight years. While at Purdue she has won several local and
national awards including a bronze medal for Designer of the
Year by the National Council for the Advancement and
Support of Education (CASE). Her work has also been
featured in Fresh Ideas in Brochure Design and Fresh Ideas
in Letterhead Design published by North Light Books.