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. In the example below - a typical article layout - we have Trade Gothic Bold No.2 paired with Bell Gothic on the left side.
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