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Most typographers apply this principle in a more relaxed and complex way, and settle for preserving something rather then everything of a type's original character. On the technical side, several things can be done to increase the chance that a letterpress typeface will survive translation to digital composition and offset printing."selectedF{I o"id"5"tag"h3"text"The multicultural page"selectedF{I o"id"6"tag"h5"text"&Start with a single typographic family"selectedF{Io"id"7"tag"p"text"Most pages, and most entire documents, can be set perfectly well with only one family of type. But perhaps the page confronting you requires a chapter title, two or three levels of subheaders, an epigraph, a text in two languages, block quotations within the text, a couple of mathematical equations, a bar graph, several explanatory sidenotes and captions for photographs and a map. 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But many successfull marriages between serifed and unserifed faces from different families are waiting to be made."selectedF{Io"id"10"tag"h3"text"Mixing alphabets"selectedF{Io"id"11"tag"h5"text"BMatch the continuity of the typography to the continuity of though"selectedF{Io"id"12"tag"p"text"A text composed in a single dialect may be full of leaps and holes, while a text that hops and skips through several languages and alphabets may in fact be tracing a path that is perfectly smooth. The continuity, or lack of continuity, that underlines the text should as a rule be revealed, not concealed, in the cloth the typographer weaves."selectedF{Io"id"13"tag"p"text"Two other factors of importance when types sit side by side are torso (x-height) and extension. When a long-limbed Greek is paired with a short-limbed Latin, the difference will stand out. Large disparities in x-height are far more obvious still. In metal, this is a harsh typographic constraint. 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