1. Two fonts, two jobs
The most common mix: one face for the name, another for everything around it (the store text, the game's UI, the object names). Each stays whole; the pair is the identity.
Your question: "Is there a way we can do a mix of two fonts?" Yes, four ways, each shown with fonts from round 94's board (codes as there). The pairs are examples of each technique, not picks: any two of the board's fonts can go through any of them.
The most common mix: one face for the name, another for everything around it (the store text, the game's UI, the object names). Each stays whole; the pair is the identity.
Most letters from one face and a few from another, baseline and cap height matched. The medieval version is the illuminated initial; the logo version is one letter that carries the idea.
Both faces whole, stacked: one as a shadow, a ghost or an inner light behind or inside the other. Colour separates them.
Every letter's outline moved part of the way from one face to the other, so the result is a new face between them (done here by merging each letter's strokes, sampling both outlines and interpolating). Faces built alike blend cleanly at every step: Cormorant SC into Cinzel Decorative. Faces built differently hold together only at small amounts: around 15-30% a Garamond takes on a gothic tension, and by 50% the shapes stop agreeing (the P's bowl, the blackletter's extra strokes have no partner). A blended wordmark is usually redrawn by hand from the step that works. Grenze Gotisch is this idea made properly by its designers: a face on the border between roman and blackletter.
