It’s best to set these styles in all caps and use plenty of tracking to space out the letters (125–250 pt, depending on the type size and available space). This headline style mixes type in a way that adds emphasis and impact to portions of the headline. The pieces set in Mercury or Capitolium 2 jump out first, while the Conduit or Pill Gothic portions sit back and support the structure.
An optional outline box can be added around the secondary type to add weight and visual interest to the headline, making this headline style a more graphic and expressive variation that works well for large communication moments where high impact is desired.If you search for fonts on any typeface site, you’ll find thousands and thousands of fonts available. It can feel a bit overwhelming trying to figure out which one works best for which project. Taking a look at the history of the font and the ways other designers have used the font, though, can make a huge difference.
It’s a versatile typeface that works well with text that will display on a screen. Like other serif designs, Georgia has a formalness to it - but it stays readable on a variety of screen sizes. The history of the font is inspired by Scotch Roman designs from the 1800s, and it came to life in 1993, thanks to Matthew Carter. Where did the name “Georgia” come from? It’s said that the idea for the typeface name came from a headline at the time: “Alien Heads found in Georgia.” Carter’s father was a British historian of typography, even working for Her Majesty’s Stationery Office and University Press at Oxford. Such regal beginnings inspired Carter in his own work with typefaces. The Internet was growing by leaps and bounds in the early 90s, so there was a real need for fonts that would look good even at low resolutions and in smaller sizes. Georgia fits that bill because it creates an interesting typeface that is still legible and easy to read. The addition of serifs makes the font suited both for headlines and body text. The initial release of Georgia was bundled in the core fonts for Web.
It then came as a supplemental pack of fonts. The font was compatible with both Windows and Mac computers, and because the font looked the same on both systems, it became popular with designers. Everyone on the team could easily work on the same design without it being skewed on different platforms. People began to see the many different applications for the font. Georgia has strokes that are both thick and thin, switching back and forth between the two. It is slightly italic looking, but not quite as slanted. If you’ve studied calligraphy, then this font might look slightly familiar because the letters blend one to the next. This creates a continuous look throughout the text. However, they are not so swirly that they’re hard to read. The type has a slightly formal look because of the varied stroke weights throughout. The lower case letters in Georgia are a bit taller than some other fonts. And the typeface is darker, which makes it easy to read even at smaller sizes. One way to describe Georgia is that it is similar to Times New Roman but is taller and bolder. Carter points out that when they were designed, Georgia and Verdana were about binary bitmaps and turning every pixel either on or off in black or white.