This font combination is used in ProBar’s Fruition package, designed by Moxie Sozo. The word “fruition” and the description are set in lowercase Clarendon, which has a friendly personality, while the word “strawberry” is set in uppercase Gotham, with less personality and a more modern look. The two typefaces complement one another well.
—Carolyn J.
The Cloak & Dagger wordmark works wonderfully through the elegance of the typefaces chosen. Garage Gothic Regular paired with Berling is a beautiful contrast between a large condensed sans, and a small elegant serif. A Goudy Italic ampersand brings a touch of class to the pairing.
The two typefaces used on this lovely Valentine’s Day card are Coffee Service and Hellenic Wide. This is an excellent pairing because of the vast differences between the typefaces. Hellenic Wide has a bold, western feel to it which contrasts with the slick and easy-going personality of the Coffee Service script. The cordial moods of both typefaces complement each other and create a sense of playfulness.
— Lia M.
Here’s a typeface-pairing game that fits perfectly with this project. Try it out! It’s an MFA thesis project by Aura Seltzer.
This is a nice example of how type combinations work well in a wordmark. The boldness and the thickness of the Futura works well as the name of the company, as it begs for attention. The delicateness of the throwback script font, Wisdom Script, pairs perfectly to bring a subtle balance, and communicates the secondary information about the company. The two work well when paired together to create a hierarchy within the wordmark, and you intuitively know what to read first, and what information is more important, based on the shapes and weight of the letters.
— Alexis Y.
The two typefaces used in Elysian Coffee’s word mark are a modified Bree Regular and Gotham Book. This type pairing works beautifully because of their similarities and differences; both typefaces are sans serifs and have little to no modulation which give them coherence, but they differ considerably in point size (scale) and the overall thickness which gives them a desirable contrast. Character is added to this type combination by Bree because it is a humanist sans which makes the overall contrast very pleasing.
— Laurisha B.
The success of this font pairing lies entirely in their differences. While Clarendon is classic and almost quaint looking, with modulated strokes and thick, clunky serifs, Steelfish is modern, urban and ultra-slim with consistent weight across all strokes. Being bolder members of their respective families, both fonts are difficult to read without a decent amount of tracking. They work well as a pair for headlines or signage. British farm boy meets Parisian model in the late 60’s.
— Alex T.
This font combination was used on a poster for Naptown Roller Girls by Aaron Scamihorn. There isn’t a big difference in size between the Futura Bold and MCM Hellenic Wide, but I think the bold sans serif and extended slab serif pair well together as they both share that perfect geometric form and provide a good looking contrast. They complement one another in that they don’t compete for the spotlight even though one stands bold and dark and the other is thin and light.
— Cheryl S.
This is from the cover of an information piece designed by Oliver Munday for GOOD Magazine and is an example of combining a modern serif and a condensed sans serif typeface. “CITIES” is set in Bodoni, which features extreme modulation, whereas “RETHINKING” is set smaller in a variation of the much heavier DIN Engschrift. DIN typefaces have almost no modulation creating the strong contrast that makes this match work so well.
— Camille S.
I think these two fonts work well together for a couple of reasons. They both share a similar simplicity as well as boldness, and work well here at a similar size. There are also some effective differences in both the weight and shape. I find the contrast quite effective. Brothers (Regular Alternatives used here) is an Emigré font and Compacta is a condensed sans.
– Chris D.
IDEA 265 Typography Digital II 