I wish I could say there’s an exact science on how to pair fonts well in design – there isn’t. But I’ll break down my method and practices I use everyday. Font choosing can be tricky: use too few and the design can fall flat, use too many and you’ve overwhelmed your reader. It’s about finding the right balance for the piece you’re working on. This isn’t one of those posts where I give you endless examples of which specific fonts look good together, because the truth is there are thousands of fonts that complement each other nicely.
My general rule is that opposites attract: peanut butter and jelly, salt and caramel, Sriracha and everything (no? just me?). Although that’s not always the case, it’s almost always, at the very least, a good starting point.
A classic combo that is almost fool-proof is pairing a sans serif with a serifed font. The perfect example of opposites attract, because the clean lines of a sans serif font contrast really well with the human-quality (the thicks and thins of the lines) of a serifed font.
I know you’re just dying to ask if it is possible to pair a serif and a serif nicely. Sure you can… depending on what they are. A heavy slab serif can look really nice paired with a more delicate roman serif font– it’s about getting that contrast. The biggest challenge with pairing two fonts in the same category (e.g., two serifs) is that you can get what I like to call the “black on black” effect. Let me explain: when you wear black pants with a black shirt that’s a slightly different shade, yes they do look the same at first glance, but on closer inspection you can tell that it’s just a little bit off. Fonts work the same way. Although two serifed fonts can look really similar, they still have their own unique nuances.
How do I apply this lesson in my work? I generally stick to 1-3 fonts per piece; one for a headline style, one for a body copy style and sometimes, one that I can just sprinkle through for accents. If a font has a lot of styles (i.e. light, italic, bold, etc.) then I don’t mind sticking with only one because I can still get a nice variety. Remember that sometimes less can be more. I’ll leave you with an interesting blog by a designer named Do-Hee Kim, it’s called #100daysoffonts and she’s posting a different font pairing for 100 days – a very cool daily project.
As I said before, there’s no exact science to font pairing, have fun and push the boundaries.
In any creative industry there are a lot of bodies. Real bodies? Maybe. But today we’re here to talk about the metaphorical bodies. Our entire industry is predicated on coming up with new ideas — ideas that haven’t been done before, ideas that accomplish a specific goal, and ideas that are unique and drive action. We’re constantly iterating and refining, trying new methods to get someone’s attention. What does that mean? It means that there are a lot of...
Supporting Breastfeeding in Nevada – Here, There, Everywhere
We have grown by four feet! This year, we have been lucky enough to welcome two adorable babies to the extended KPS3 family. In January, Alex welcomed a beautiful baby girl named Lihie and in February, Katie welcomed handsome little Wells. From long nights and endless diapers to the first smiles and giggles, there are so many amazing adventures ahead for these two families. And when these new mothers come back to work, we are ready to fully support...
Brands are more than the sum of their parts. So why not build them that way?
Creating a brand from the ground up is a daunting task, so people often want to break it up into smaller design tasks; logo creation, color selection, voice and tone, and brand design “look and feel.” But breaking down a new brand that way can be short-sighted. When you craft a brand with individual bits you are making a scary assumption that they will all fit together nicely in the end. This denies clients – and the entire agency team...