Find two examples of fonts that are different but complementary.

Calvert and Acumin

Explanation:

Use font superfamilies

A good super-family will include serif and a sans serif version of the same typeface: famous examples include Lucida/Lucida Sans and Meta/Meta Sans.

Pair contrasting typefaces

Contrast, as the name implies, is about finding totally different – but still complementary – typefaces that are each fit for their intended application. Traditionally, this involves pairing a serif with a sans serif.

Typefaces will generally conflict if they are too similar: two ever-so-slightly different serifs or sans serifs rarely create nice font pairings.

As a designer, the important thing is to establish a clear hierarchy. This could be as simple as varying the size and weight of the same typeface – but where the typeface varies, careful font pairing is crucial. If you have a display face packed with unique personality, you'll need something more neutral to do the hard work.

Pair type sub-categories

Of course, 'serif' and 'sans serif' are themselves broad classifications – each split into several sub-categories. Generally speaking, Old Style serifs such as Bembo, Caslon and Garamond will combine well with Humanist sans serifs, such as Gill Sans and Lucida Grande.

Meanwhile, Transitional serifs have a stronger contrast between thick and thin strokes – examples include Bookman, Mrs. Eaves, Perpetua and Times. These pair with Geometric sans serifs such as Avant Garde, Avenir, Century Gothic, Eurostile, Futura and Univers.

Finally, Modern serifs have an often very dramatic contrast between thick and thin for a more pronounced, stylised effect, as well as a larger x-height. Included in this third sub-category are Bodoni, Didot, New Century Schoolbook and Walbaum. Again, Geometric sans serifs marry best with these.