Top designer's first rule: Limit your fonts

The first rule of being a top designer: restricting your fonts

One of the seven basic principles that make you a big design.

Good Design Master, or too much bragging, but according to the following seven basic principles at least you can become a skilled designer.
This will be the shortest and most informative series of blog posts, and you'll know how to become a better designer after you see it.
Keep in mind: These principles are not laws and can be broken. They're just generic instructions, and I usually follow them when I design, and follow these simple design principles, and you'll find a path of excellence in your own art.

Principle one: Limit your fonts.

You will see that a large part of a good design looks very coordinated. One of the best ways to do this is to use a small amount of elements to accomplish a seemingly very coordinated design.
The font you chose first may be the one you want to delete, and I often do it by removing 2 fonts from a single piece of work. The first font may be a very thoughtful or artistic sensation that will give your design a sixth sense, character or personality. These fonts are a collection of all the moods of the time, this funny-looking typeface with a twisted waist like a girl's prom, this crappy evil font is a rock band? I'm going to use this fancy font for the title of the text, it needs to be big enough anywhere, and this fancy font is going to be the focus of this piece. You usually rarely use this font again, but it's much bigger, so that's what people see.

The second font is very common, and the reader will not feel it in the whole article. This type of font needs to be very readable, it will occupy a considerable length of the text, it is clear that the large amount of expensive art fonts occupy the text will greatly affect the reading.

Here is an example of a design that uses fonts correctly. As you can see, there are only two fonts, and fancy art fonts appear as headings, and content is a very basic font. This looks neat and coordinated.

Here's another example of a failure, where I use a lot of fancy art fonts, which is so uncoordinated that the sections don't seem to match the main title.

There are too many fonts in a design that are taboo, and there's nothing like a flyer that prints them in 8 different fonts, and it's worse to use WordArt as the text. This is an example of using fonts incorrectly.

The last thought before I let you do it yourself. If your WordArt looks stylish and modern, use a sans serif font for the body part, and if your WordArt looks formalized, use a serif font as a second font.

PS1: The first translation of things, some places may not necessarily correct, read the original or read the original bar. Finally thanks to my parents, thanks to Google, thanks to Jinshan, thanks to CCTV, thanks to all TV ....

PS2: line fonts and sans serif fonts

Serif or San Serif?
Serif is the end of a stroke, such as the beginning and end of M. The Serif was developed by Roman lettering to improve the elegance and readability of the typeface. They are written on a stone with a brush and then carved out. Serif will live until now because they are very beautiful and classical, and they are easier to read. For small text fonts, it's good to use Serif fonts, instead you can use Sans Serif (Sans "None" in French) to be a title or a font for a short article.

Classification of different fonts

Latin characters
Serif Font (SERIF)
The contrast between coarse and short strokes is obvious, while reading is more eyesight-friendly
Times New Roman
Architect
Balletengraved
Creedmore
Benjamin
Capshc
New-fine-ming body
Song Body
Standard Song

Sans Serif font (Sans Serif)
The rough and young average of strokes is less obvious
The font is more prominent, reading more than the cost of eyesight
Alberta
Annstone
Garamond
Nimbus Script
Blackbody