Q U E S T I O N I S , D O Y O U F E E L

LUCKY

IT’S EASY TO GET CARRIED AWAY WITH SIZE CONTRAST

UPPERCASE IS NOT THE ONLY WAY TO DRAW ATTENTION

USE A RELATIVELY LARGE SIZE TYPE AS A DESIGN ELEMENT

USE WEIGHTS TO CREATE PATTERNS AND GUIDE THE EYE

MAKE A “GRAY” PAGE INTERESTING – DRAW THE READER IN.

CARDINAL SIN - AVOID PLACING TWO OLDSTYLES ON THE PAGE- THEY CONFLICT, THEY’RE TOO SIMILAIR

CLASSIC STRUCTURE CONTRAST – SERIF WITH SANS SERIF

IF YOU MUST USE A TYPEFACE FROM THE SAME CATEGORY- USE A LITTLE IMAGINATION

IN CASE YOU DIDN’T BELIEVE ME

MOST COMMONLY USED FORM CONTRAST – UPPER CASE WITH LOWER CASE

DON’T EVER COMBINE TWO DIFFERENT ITALIC /SCRIPT FONTS

IF YOUR LAYOUT HAS A POTENTIAL FOR A CONTRAST OF DIRECTION EMPHASIZE IT, WITH COLOR, SIZE OR BACKGROUND

TYPOGRAPHERS BELIEVE YOU CAN ADD

COLOR TO A DESIGN WITHOUT USING COLOR

CHANGING THE COLOR ON TEXT HEAVY PAGES GETS

VERY HARD WHEN THE MEDIUM /CONTEXT IS

LIMITING.

BUT IT’S NOT IMPOSSIBLE

DARK BOLD SANS SERIF TIGHTLY PACKED TEXT

CREATES A DARK COLOR

LIGHT AIRY TYPEFACE WITH LOTS OF

LETTERSPACING CREATES A LIGHT

COLOR

Size- Don’t wimp out.

Weight- Contrast heavy weights with light weights not medium

weights

Structure- Look at how the letterforms are built ;

monoweight or thick/thin transitions

Form- Caps versus lowercase is a contrast of form as well as roman versus italic or script. Scripts and italics have similar forms – don’t

combine them

Direction- Think in terms of horizontal type versus tall.

Narrow columns of type rather tan type on a slant

Color- Warm colors come forward; cool colors recede.

Experiment with the “colors” of black text