I first noticed it in this tweet. Exciting upcoming product and snazzy motion work aside, “What a fascinating logotype!”, I exclaimed!

我在此推文中首先注意到了它。 我驚呼即將推出的激動人心的產品和令人眼花，亂的動作，“多么迷人的標識！”！

A few days after, I was browsing Teachable, and noticed a freshly rebranded and redesigned site. Typographic choices? Lo and Behold! There it was, again.

幾天后，我正在瀏覽Teachable ，并發現了一個經過重新命名和重新設計的網站。 印刷選擇？ 瞧！ 再次出現。

Now, I was a woman on a mission. I rallied some of my fellow type sleuths (h/t Kawal Oberoi and yash arora), and we found more! All newer brands, but most interestingly — across industries. A live video calling tool, a development project, a photographer’s portfolio and of course, an online course-hosting platform.

現在，我是一名執行任務的女士。 我召集了一些我的同類型偵探(h / t Kawal Oberoi和yash arora )，我們發現了更多！ 所有新品牌，但最有趣的是-跨行業。 實時視頻通話工具 ， 開發項目 ， 攝影師的作品集 ，當然還有在線課程托管平臺。

Historically, one of the pillars of good visual design is contrast. Contrast creates hierarchy, in this case, typographic hierarchy, that helps distinguish elements from one another. This in turn, directs the reader’s attention through the content with intent and enhances the visual appearance.

從歷史上看，良好的視覺設計的Struts之一是對比度。 對比會創建層次結構，在這種情況下為印刷層次結構，有助于將元素彼此區分開。 反過來，這可以有目的地通過內容引導讀者的注意力，并增強視覺外觀。

So naturally, pairing serifs and sans serif might be the oldest rule in the book. Stylistically, they establish very clear contrast through their forms. Emotionally too, serifs feel older and more mature, while sans are perceived to be more contemporary and youthful. Typeface combinations pairing sans serif for the header with a serif body or vice versa are a dime a dozen, across print, web, and apps. A classic combination, almost impossible to get wrong.

很自然，將襯線和無襯線配對可能是本書中最古老的規則。 從風格上講，它們通過其形式建立了非常清晰的對比。 在情感上，襯線也感覺更老和更成熟，而sans被認為更現代和年輕。 在打印，Web和應用程序中，字體組合將無襯線的標題與襯線體配對，反之亦然，一角錢。 一個經典的組合，幾乎不可能出錯。

So, what’s special or unique here?It’s how alike and seamless they’re made to look. Almost competing or merging with each other. It’s the anti-contrast.

所以，這里有什么特別之處或獨特之處是使它們看起來多么相似和無縫。 幾乎彼此競爭或合并。 這是反對比。

讓我們分解一下 (Let’s break it down)

To understand what’s going on, we first have to talk about x-height. It is exactly what the name suggests— the measure from the baseline to the top of a lowercase x.

要了解發生了什么，我們首先必須討論x-height 。 顧名思義，它就是從基線到小寫字母x頂部的量度。

One of the key commonalities in all our examples is similar x-height in the choice of sans serif and serif fonts. This is the first thing that tricks us into reading through the words seamlessly, especially when appearing in larger blocks of text. Mixing typefaces with similar x-heights feels harmonious. There’s a lot of other decisions at play here, including but not limited to optical matching of weights, similar ascender (part of a letter that extends above the level of the top of an x) and descender (part of a letter that extends below the baseline) heights, but matching x-heights is an important one.

在我們所有示例中，主要的共同點之一是在選擇無襯線字體和襯線字體時，x高度相似。 這是欺騙我們無縫閱讀單詞的第一件事，尤其是當出現在較大的文本塊中時。 混合具有類似x高度的字體感覺很和諧。 這里還有許多其他決策在起作用，包括但不限于權重的光學匹配，類似的升序(字母的一部分延伸到x的頂部上方)和降序(字母的一部分延伸到 x 以下)。基準)高度，但匹配x高度是重要的。

The simplest way to create this for your designs is go back to one of our examples from before: MakeSpace. It uses the Suisse family in serif and sans serif variants. And that’s it! Fonts within the same family have similar features, and so the contrast between them is largely limited to the addition/removal of serifs.

為您的設計創建此效果的最簡單方法是回到以前的示例之一：MakeSpace。 它在襯線和無襯線變體中使用Suisse系列。 就是這樣！ 同一家族中的字體具有相似的功能，因此它們之間的對比很大程度上限于添加/刪除襯線。

最后的想法 (Final Thoughts)

Vanderbrand, the team behind Square One District, explains their type choices on their website.

Square One區背后的團隊Vanderbrand在其網站上解釋了他們的字體選擇。

“The versatility of the primary typeface complements the atypical typographic system where serif and sans serif typefaces are used in combination to bring vibrancy and optimism…”

“主要字體的多功能性補充了非典型字體系統，在該系統中，襯線字體和無襯線字體被結合使用以帶來生機和樂觀……”

Vibrancy and Optimism. And without sounding too philosophical, I think it’s quite poetic that this trend, or style of pairing, whatever we’re calling it— highlights how everything, just like in typography, is beautiful, balanced and harmonious in spite of, but ever so often, because of our differences.

充滿活力和樂觀。 而且，盡管聽起來沒有什么哲理性，但我認為這種趨勢或配對方式(無論我們稱之為什么)頗具詩意，強調了盡管印刷術中的一切，就像印刷術一樣，都是美麗，平衡且和諧的，盡管如此，但經常如此， 因為我們與眾不同。

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