-The single biggest challenge we face when [pairing type](/topic/pairing_type) is choosing a secondary [typeface](/glossary/typeface) that’s different enough from our primary choice, but not _too_ different, as described in our article “[Pairing typefaces](/lesson/pairing_typefaces)”. This can be a challenge, because it’s not always clear where the similarities and the differences should lie.\r
+The single biggest challenge we face when [pairing type](/topics/pairing_type) is choosing a secondary [typeface](/glossary/typeface) that’s different enough from our primary choice, but not _too_ different, as described in our article “[Pairing typefaces](/lesson/pairing_typefaces)”. This can be a challenge, because it’s not always clear where the similarities and the differences should lie.\r
\r
In this article, we want to share with you the concept of the font matrix—an approach based on the work of typography professor [Indra Kupferschmid](https://de.wikipedia.org/wiki/Indra_Kupferschmid). Understanding it can change your perception of type and give you a framework to make better decisions when pairing typefaces.\r
\r
\r
When applying it to your design, other factors come into play, depending on how close the combination is, such as a similar [x-height](/glossary/x_height), or a similar or different [width](/glossary/width). Also, by using different [weights](/glossary/weight) or [styles](/glossary/style), you can hide a less-than-ideal combination.\r
\r
-So see the font matrix as a guideline to make a decision, but don’t drive yourself crazy. Even Indra Kupferschmid says that it is not binding and should not limit your creativity. It is one way—not the only way—and hopefully this will support you in finding _your_ way.
\ No newline at end of file
+So see the font matrix as a guideline to make a decision, but don’t drive yourself crazy. Even Indra Kupferschmid says that it is not binding and should not limit your creativity. It is one way—not the only way—and hopefully this will support you in finding _your_ way.\r