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I love the concept of Google fonts, but I find the execution to always be somewhat lacking. When compared to classics like Futura, Bodoni, Garamond - even Helvetica - they just fall short, and I rarely, if ever, end up using them.
Again, I love the concept of Google font pairings: the fast download of cool fonts (and even cute fonts) from their high-speed library is great, and has brought far more unique, web-friendly fonts and font pairs to the internet than ever before. They sort of broke us out of the standard web fonts and web-safe fonts we were all chained down to a few years back of Arial and Verdana and even the Times New Roman font (remember those days? Can you believe they were just a few short years ago?).
I wanted to create the best font pairings Google has to offer that even high-end agency designers would be tempted to use. I wanted to assemble Google font pairs that even I would have trouble turning down.
So I combed through Google's vast library and tested hundreds of font combinations, from their most famous and top fonts like the Roboto font, Railway font, Montserrat font, Lato font, Oswald font, Lobster font, and more, to more obscure, funky ones you may have never even seen before this post.
I took my favorite pieces from the Rijks collection and combined them with my Google font pairings to create a truly beautiful display of Google fonts that really work. We've also organized them by filters to help you find a font to fit that project you're working on right now. You'll find dozens of font pairings you can re-use time and time again for different clients and projects.
I undertook one more challenge in this project: to express these font pairings through profound, time-tested quotes on design from world-renowned designers of all styles. So we have beauty in art, functionality in fonts, and wisdom in quotes.
If you too have had trouble finding great Google fonts and combinations, this might win you over to the Google Fonts Team like it won me over. Or maybe not! The beauty of design is that, at the end of the day, our own preferences and styles are what truly matter.
Eccentric: Quirky. Odd. Different. These fonts communicate uniqueness in various ways. Great for personal blogs, companies in a crowded marketplace that need to be set apart, and more.
Classic: These font combinations feel like they could have existed for generations. They're reminiscent of classic, time-tested and weathered fonts that last. Great for projects that need to project confidence, reliability, style.
Minimal: These minimal font pairings say so much, with a whisper. They almost try to blend into the background and get out of the way to help you more purely take in the message. Clean. Concise. Polished.
Neutral: Some brands are like the friendly local baker who greets everyone with a smile. Others are more professional, cerebral. These neutral fonts are more on the cerebral side - conveying professionalism and cleanliness above all else. Think Helvetica, but for Google fonts.
Warm: For brands who are the "friendly local baker," these fonts are for you. They convey heart, creativity, openness. They say, "Come talk to me, let's be friends." Great for brands that have that personal touch.
Beautiful fonts and combinations from Google you can use to fuel your personal and client projects. They're completely web-safe fonts, and due to their vast use worldwide, I think it's safe to say Google fonts are the new standard web fonts.
(By the way, we've made this entire collection of Google font pairings into a downloadable PDF that you can easily reference at any time. You should see a small yellow tab at the bottom of your screen - click that to download the post now!)
I think often Google fonts are strewn across designs that are lacking the fundamentals of good design. They're the cool, hip thing to use - and as a result, so many people us them. But design is a spectrum ranging from bad to great, and as bell curves go, few designs are truly great.
By simple math, most designs using Google fonts need improvement. Perhaps that's where my initial bias against Google fonts came from. Design is something I take so seriously, and am so passionate about, that when I see bad or lazy design, it hurts. From seeing so much sub-par design riddled with Google fonts, I associated Google fonts with sub-par design.
But undertaking this challenge to create this collection forced me to see Google fonts from a new perspective. Namely, it forced me to throw away my previous conceptions and see them anew. When I did, I simply viewed them like I would anything else in a design - as an asset to be used and manipulated to achieve an end-goal.
I also wanted to talk about some of the strategies behind these Google font combinations to help you create even more of your own. Because while I have 50 here, I'm certain there are dozens more waiting to be made.
If you'll notice, there's a pattern to nearly every pair: The headline is very bold and impactful, and then the body font is very light and airy. This contrast creates a nice tension and context for the fonts. It makes it very interesting as you scroll. Our eyes and brains desire constant change and flux and small contrasts like this deliver.
Another reason the body fonts are very light and airy is that they have to be palatable and legible to the eye over the course of a long piece of text. If I throw a bold, impactful font at you for more than 10 or so words - your eye will go crazy. It's like talking on the phone with someone who only screams.
When you go from a louder headline font to a body font, there's almost a feeling of relief. The headline was a nice, momentary burst of excitement - but then the eye is relieved to handle something easier and less demanding.
It also takes things a step further and shifts the feel. Serif fonts tend to feel more grounded, conservative, and calm. Sans serif fonts tend to feel more modern, daring, and progressive. By paring the two together, you get a great balance that's interesting to the mind and the eye.
To uphold this style, copy must be strong and concise. If a designer must reduce font size on body copy below 10 point, a writer should edit it to reduce the amount of copy. Additionally, WebPT designs should never lean toward the kitschy, cheesy, or immature (e.g., potty humor). Advertising can be conversational, light, and even cute, but never unprofessional or overly salesy. Most importantly, though, the messaging and imagery should work hand-in-hand, matching in style and theme.
Copyright 2006 Linotype GmbH, www.linotype.com. All rights reserved. This font software may not be reproduced, modified, disclosed or transferred without the express written approval of Linotype GmbH. Egyptienne This typeface is original artwork of Adrian Frutiger. The design may be protected in certain jurisdictions.
NOTIFICATION OF LICENSE AGREEMENTYou have obtained this font software either directly from Linotype GmbH or together with software distributed by one of Linotype's licensees.This font software is a valuable asset of Linotype GmbH. Unless you have entered into a specific license agreement granting you additional rights, your use of this font software is limited to your workstation for your own use. You may not copy or distribute this font software. If you have any questions regarding your license terms, please review the license agreement you received with the software.General license terms and usage rights can be viewed at www.linotype.com/license.Generelle Lizenzbedingungen und Nutzungsrechte finden Sie unter www.linotype.com/license.Pour plus d'informations concernant le contrat d'utilisation du logiciel de polices, veuillez consulter notre site web www.linotype.com/license.Linotype GmbH can be contacted at:Tel.: +49(0)6172 484-418
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