MICROSOFT OFFICE GOTHIC FONTS PROFESSIONAL

So here we have two very different typefaces, from two different time periods, created for almost different purposes, that somehow bring out the best in each other. In contrast, Futura is bold, optimistic, and serious, concerned with modernism and forwardness.įollowing Bauhaus’s principles of futurism, Paul Renner created Futura in 1927, emphasising geometric forms hence we find within each letter near-perfect circles, triangles and squares. It was created in 1914, envisaged as a kind of a throwback to earlier Art Nouveau models. Mixing two such strong typographic personalities is a risk that rarely pays off, as they end up fighting it out.Īllan Haley described Souvenir as being “like Times Roman dipped in chocolate” – it is playful, goofy and light. 10 Beautiful Font Combinations For All Your Design Needs 1 – Futura Bold & Souvenir We are here to bring you ten perfect font pairings, to suit all your design needs.

MICROSOFT OFFICE GOTHIC FONTS PROFESSIONAL

However, with such a diverse world of professional typefaces (and a growing range of free fonts) to choose from, how can you possibly choose just two complimentary fonts? These four simple rules will provide you with visual harmony in most situations. This will undoubtedly present Futura as your primary font, and Garamond as your go-to alternative for detail, extra information and support. Try an eye-catching, 30pt title in white sans-serif Futura, with a subtle, neutral grey, 12pt subtitle in serif Garamond. This can be achieved by varying the size and weight of each typeface or even incorporating colour into the mix. One should ideally be more prominent than the other. The most important thing when combining two very different fonts is establishing a clear hierarchy between the two. If you find a superfamily that includes both serif and sans serif, then you have got yourself a ready-made contrast package for font combinations. Serif fonts are slightly more old-fashioned and traditional (examples include Times New Roman and Garamond) and always have strokes at the edges of letters.īy contrast, sans-serif fonts are sleek and modern (examples include Futura and Helvetica) and never have strokes, opting instead for clean lines.Ī strong superfamily will include serif and sans serif variations of the same typeface, as is the case with Lucida and Lucida Sans. It is the salt and pepper of the font world.

Two ever-so-slightly different fonts will rarely work together.Ĭontrast, when done right, is about finding surprising and bold oppositions in style, that bring out the best in each other.Ĭombining serif with sans serif is a classic move for good font combos. Some fonts are members of ‘superfamilies’, which means they come along with a selection of different weights, styles and classifications that are specially designed to work together.įor example, the Avenir superfamily includes the following sub-fonts: Avenir Heavy, Avenir Medium, Avenir Light, Avenir Next, Avenir Bold, Avenir Condensed, Avenir Roman, and Avenir Oblique, all of which come in italic, bold and regular font pairs.Īny font combinations will work well together, so by keeping it in the family, you cannot go wrong.Īs with colours, typefaces will often conflict if they are too similar (imagine pairing hot pink with dark red). The most straightforward way of guaranteeing that a font pairing works perfectly is by using different fonts within the same typeface family. So when it comes to font combinations, the golden rule is as follows: complement or contrast, but never conflict.

Then you know you have found a pairing that rolls off the eye. The idea is that, if you get the combo right, the viewer is almost unable to notice what you have done. In fact, the more similar they are, the more likely they will clash.Įqually, two very different fonts could be in danger of pulling your design in opposite directions. The whole idea of using multiple fonts is to create visual diversity, so there’s no point in choosing two that are broadly identical. The ideal combination should harmonise, without risking being too similar. The last thing you want is for both fonts to be fighting for the viewer’s attention. For starters, always look for font pairings that complement one another.

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