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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

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Type2

  • 1.  
  • 2.  
  • 3.  
  • 4.  
  • 5.  
  • 6.  
  • 7. IT’S EASY TO GET CARRIED AWAY WITH SIZE CONTRAST
  • 8. UPPERCASE IS NOT THE ONLY WAY TO DRAW ATTENTION
  • 9. USE A RELATIVELY LARGE SIZE TYPE AS A DESIGN ELEMENT
  • 10.  
  • 11.  
  • 12.  
  • 13.  
  • 14. USE WEIGHTS TO CREATE PATTERNS AND GUIDE THE EYE
  • 15. MAKE A “GRAY” PAGE INTERESTING – DRAW THE READER IN.
  • 16.  
  • 17.  
  • 18. CARDINAL SIN - AVOID PLACING TWO OLDSTYLES ON THE PAGE- THEY CONFLICT, THEY’RE TOO SIMILAIR
  • 19. CLASSIC STRUCTURE CONTRAST – SERIF WITH SANS SERIF
  • 20. IF YOU MUST USE A TYPEFACE FROM THE SAME CATEGORY- USE A LITTLE IMAGINATION
  • 21.  
  • 22.  
  • 23.  
  • 24. IN CASE YOU DIDN’T BELIEVE ME
  • 25. MOST COMMONLY USED FORM CONTRAST – UPPER CASE WITH LOWER CASE
  • 26. DON’T EVER COMBINE TWO DIFFERENT ITALIC /SCRIPT FONTS
  • 27.  
  • 28.  
  • 29.  
  • 30. IF YOUR LAYOUT HAS A POTENTIAL FOR A CONTRAST OF DIRECTION EMPHASIZE IT, WITH COLOR, SIZE OR BACKGROUND
  • 31.  
  • 32.  
  • 33.  
  • 34.  
  • 35. TYPOGRAPHERS BELIEVE YOU CAN ADD COLOR TO A DESIGN WITHOUT USING COLOR
  • 36. CHANGING THE COLOR ON TEXT HEAVY PAGES GETS VERY HARD WHEN THE MEDIUM /CONTEXT IS LIMITING. BUT IT’S NOT IMPOSSIBLE
  • 37. DARK BOLD SANS SERIF TIGHTLY PACKED TEXT CREATES A DARK COLOR LIGHT AIRY TYPEFACE WITH LOTS OF LETTERSPACING CREATES A LIGHT COLOR
  • 38. 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
  • 39. 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