Boh-lawg Tré
…..Could work with literally anything, so to speak.
Yeah, finding that perfect font for any project can go in any which way direction for sure, but like in the end, don’t become a one-trick pony. I bolded that because I was being serious. Too many times have I seen—and done, for that matter—that irresistibly nerve-wracking mistake of picking the wrong dang font.
Well, here’s how I’m going to roll it out for you today. Sorry, I’m gonna go off-script for a second (I’m not using the prompt because I got a lot to say about typography):
See, I like to go off the beaten path when it comes to font pairing. Typography, to me, is the true essential for any designer. Bad type=bad design. It’s the first thing people oodle over on/in your designs, and the last thing to leave your thoughts as they probably end up turning the page, or walk right by… or… well, in certain cases, urinate on it. Like, could you imagine peeing on something that has bad keming? It almost makes you feel sad for it in a sense.
Perfectly-placed urine and kerning jokes aside: typefaces, fonts, and anything typographic has it’s own convoluted language that goes way beyond the words. What I mean in that is that you might see words like what I’m writing, but look beyond—this font is a sans-serif if you’re fortunate enough to get beyond the skeletal structure of this blog’s coatings. In that, you may think more modern, progressive sense as opposed to the more sophisticated, conservative vibes that a serif might give off. I find that fonts like this are much easier to read in reverse text and for that, we love it.
I love typography, if you couldn’t tell. I could write about it forever, but by then I’ll probably have lost your attention.
NOW LETS GET BACK TO THE REASON WHY YOU’RE HERE.
I think it’s fun to kind of do a reverse in the concept of contrast that Douglas Bonneville says. If you can make a thin header work with a well-placed geometric sans serif, you get some awesome uniqueness that sets you aside from your competitors. I think the first time that I saw a contrast in type was from something blatantly obvious like Big John/Slim Joe, as those combinations create a really nice contrast in value and balance.Take my first example below, which sort of uses a mixture of both Bonneville’s idea of balance and contrast:
I think that balance just works so well here, as the fat font combines well. I took that into consideration when making my resume choices, like below:
Choice #1: Gotham + Freight Micro Pro
I used the choices on the top for my original resume that I ran from 2016–2019, but I since then decided to change it to strictly Gotham because I thought the look was a heck of a lot cleaner, but due to the standards of this blog subject matter being font pairings, I chose to revert for the sake of this. Now, I chose these two because Gotham Ultra packs a punch that is very business and structured, while Freight Micro Pro has industrial vibes that remind me a bit of an old New York subway pamphlet—which is exactly where it was inspired from. It seemed like an odd choice, but I despise the numbers for Freight Micro Pro, so I switched it out with Gotham Light.
Header 1: Gotham Ultra, 62pt; Subheader: Gotham light, 24pt; Header 2: Gotham light, 20 pt; Header 3: Freight Micro Pro Black, 14pt; [location + present text because I don’t know what to call it]: Freight Micro Pro Book, 10pt; [number text]: Gotham Light, 10pt; Body: Freight Micro Pro Book, 12pt.
Choice #2: Eksell Display + P22 Underground
This was decidedly more conceptual and I wanted to challenge by using a bit more typography. I used the red because it really packs some modern elements into a classy style like Eksell. The true neutrality of P22 Underground was what sold me on it, as it tied the Eksell Display’s elegance down to earth before getting a little too conceptual.
Header 1 [A and H]: Eksell Display Stencil, custom; Header 2 [-lex & -err]: Eksell Display Large, 72pts; Subheader + Header 3: Eksell Display Small, 20pts; Header 4: P22 Underground DemiBold, [location and dates because I don’t know what to call it]: P22 Underground Light, 10pts; Body: P22 Underground Book, 12 pts.
In conclusion, I love typography. I try to find odd combinations because I think if you do that, you can always tell a completely different story with each design. Like I’ll always say, it goes way beyond words.
