Using different fonts in the same design is one of the trickiest part in graphic design. To solve such a massive issue, experienced designers are dividing it into small tasks. Here is a sort of recipe you can use in order to select the typefaces you want to work with.
A Use Matter: One Typeface Pairing
If your design needs to express hierarchy & legibility, then follow the “crystal goblet” theory of Beatrice Ward. No need to explore extravaganza. Your design needs to be subtle: choose a font family with a wide range of variation styles.
A Meaning Matter: Create a Casting
If you aren’t comfortable with a single-family choice, you could choose more than one typeface. Define the various roles of the typographic use: a title, a quote, a body text or a highlight could be expressed as different voices in different typefaces (not more than three).
A Balance Matter: Contrast or Shades
Marriage between typefaces are like humans: opposites attract each other, and birds of a feather flock together. Contrast or similarity. Look at your type classification and see what you have!
Contrast
The difference between the two typefaces is probably what works easily in most designs: a slab bold typeface is the opposite of a classy serif jewel. Both express something different and complementary. But you shouldn’t look only for the contrast between the two typefaces; you can also oppose a bold illustration with a light and elegant title.
Shades
If you want to base your design on a picture, you can decide to fit in the same shades and choose a typeface expressing the same mood: strong & dark photography would need a Black Sans or a powerful contrasted Serif font. If it’s a delightful illustration drawn with a soft line, try to be sensible with a typeface that looks like these lines.