![]() ![]() Finally, the second level heading is Akzidenz Grotesk Medium. Our body copy intro and body copy typeface is Bembo at different sizes. We then use Rockwell Bold for the article heading. In the next example, we have used Akzidenz Grotesk Bold in all-caps in an author slug on the top. One very easy way to combine multiple fonts from several typefaces is to design a role-based scheme for each font or typeface, and stick to it. This combination works quite nicely as a result.Ĭhoosing typefaces from different classifications at the start avoids needless tension in your design and typography later. At the same time, it backs down and lets Clarendon have all the personality it wants. ![]() New Baskerville is a versatile transitional serif typeface with wide glyphs that goes nicely with the heavy-set Clarendon. The Clarendon Bold header is paired with the much-more neutral New Baskerville. Now notice the example on the right side. Putting two slab serifs together can create a needless and unsightly tension. Slab serif typefaces are known for their distinct personality, and they like to dominate any area in a design they are used in. The body copy on the left is Officina Serif which is also a slab serif. In the first example on the left side we have a heading set in Clarendon Bold, which is a slab serif. Their distinct personalities don’t play well off of each other and create a kind of typographic mud if careful attention is not paid. Typefaces of the same classification, but from different typeface families, can easily create discord when combined. Both typefaces, in this context, are on the same mission, and that makes for a great combination. They are both focused on bold clarity with highly-readable glyphs due to their tall x-height. Sabon, which is a serif typeface, works very well with Trade Gothic. We’ve replaced Bell Gothic with the stately Sabon. Now let’s look at the example on the right. This kind of tension is likely not part of the design goal, and should be avoided. Trade Gothic wants to get to the facts, but Bell Gothic wants to have some fun. Putting these two together creates an unwanted conflict in the design. Bell Gothic, on the other hand, is much more dynamic and outspoken. Trade Gothic is arguably a no-nonsense typeface. A good rule of thumb, when it comes to header and body copy design problems, is not to create undue attention to the personality of each font. However, they have very different personalities. Read Sabrina’s in-depth article where she writes in detail about the process of creating Sprig and Sprig Sans here and follow the Faire Foundry on Instagram for more typography inspiration and the creative duo’s latest bespoke custom fonts, commercial type designs, and logotypes for brands.In the example below - a typical article layout - we have Trade Gothic Bold No.2 paired with Bell Gothic on the left side. – The Process of Creating Sprig, by Sabrina Nacmias And over time those edits became more substantial - major updates to letter widths and proportions, updates to the x-height, simplifying some of the more distracting features - until I no longer felt a responsibility to the source material the project had evolved. Goal acheived! But over the years I worked on Sprig, I would always try to use it in client projects or in personal design work and each time I would use it, I would make small edits and adjustments. Sharpening the type in some places left me with a nice looking, well drawn fairly faithful representation of the Cheltenham as it was printed in Collecting Lustre Ware. A wide number of OpenType features provide access to special characters like swash caps, ligatures, and alternate glyphs. The Sprig collection also includes Sprig Sans, a friendly geometric grotesk typeface, with matching proportions and weights to its serif counterpart. Drawn digitally with rigorous attention to every detail, the type shines in all sizes and the wide range of weights allow for a wide breadth of expression without leaving the family. The Sprig type retains iconic details from Goodhue’s Cheltenham, like the open counter g and round teardrop terminals, but has updated proportions to increase legibility and usability. Inspired by early versions of Cheltenham by Bertram Grosvenor Goodhue, the creation of Sprig began as a revival project for Sabrina, but over time grew away from its roots and into a more modern, geometric typeface. The Cheltenham typeface was the world’s first full-fledged large type family and has been dubbed as the embodiment of type design that is thoroughly American (Anatomy of a Typeface, Alexander Lawson) – and probably is the most widely known type designed in the United States.Īnd the Sprig collection follows in its footsteps. ![]()
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