In short, typography is a language all of its own, and if you are creating a book, magazine, or even a piece of wall art, knowing the basics of typography will ensure you are making the best decisions when it comes to type. Not to mention, learning typography is fun.

Now that we have a basic typography definition, why don’t we explore elements of typography design a little more closely:

Elements of typography

Two terms you will often hear in regard to typography are typeface and font. These two elements are related and play well together. Think of it like this:

A typeface is the design of lettering that can include variations such as bold, regular, light, italic, condensed, and more. Each one of these variations is a font. Someone who designs typefaces is called a type designer.

Another typography term is contrast, which refers to the grouping of two different typographical elements and using different traditional design methods to create a contrast. One element takes center stage while the second element takes less attention, but still adds to the overall design.

Typography design: contrast

There are four main techniques for creating contrast with typography; size, color, spacing, and shape.

Contrast by size

Size is relatively self-explanatory. Say for example you use a large typeface for the title of your book, and a much smaller, less dominant typeface for your subtitle. They are both important, but the second element does not distract from the first.

Contrast by color

Using color to achieve contrast means taking advantage of things like type density, using the full range of the grayscale, or using vibrant colors to offset different typefaces.

Contrast by spacing

Contrast through spacing can be as easy as justifying your type to the left, right, or center. But it can also be achieved through letter spacing, word spacing, or line spacing. Letter spacing refers to the measurement or space between letters. This same idea applies to word spacing and line spacing. Here is a little hint. Spacing takes practice, and there is a fine line between good spacing and going too far which could weaken the overall power of your design.

Contrast by shape

Finally, contrast by shape could mean using both italic and bold fonts together, or perhaps an artistic font paired with a simple or basic font.

Typography design: hierarchy

Typographic hierarchy refers to organizing type in a way that allows the reader to quickly find the information they are after.

Let’s say you are creating a book about poetry readings and you are listing the locations, the dates, and the titles of each event. Using a good typographical hierarchy means you are styling each of these data points in a unique way so that the reader can quickly identify a date, a location, or a title. The hierarchy should also take alignment into account. Type alignment refers to the placement of type in relation to other elements on the page, such as photographs, columns, tabs, etc.

Typography helps to create a sense of style and making small changes to your typography choices can be both liberating and strategic. My last piece of advice is this. Think about your typography as equal to all other aspects of your publication. Things like trim size, paper type, borders, and the size of the photographs are all important. Type is a peer to these other elements and requires the same amount of thought and dedication. Take your time and explore the options.

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Do choose a font that enhances your message 

Choosing a font can be a daunting task because the options are endless. It’s important to trust your intuition and know what mood you are trying to project. Instead of spending hours looking for the “perfect” font, try to narrow your options by creating a mood board of inspiration containing film posters, book covers, or album art that influences you.

Do choose a bold font for a dark background 

Choosing a font that compliments the mood of your design won’t be effective if the viewer can’t read your content. If you’re working on a dark background, choose a font with a heavier weight for maximum contrast and readability.

Do experiment with color 

Introducing color to your text can add hierarchy and tone to your design. When considering color, remember that less is more and that the most obvious color choice isn’t always the best one. For example, black and red can be a subtle but spooky take on Halloween, and blue and silver effectively hint at luxury and non-denominational celebrations in December.

Do adjust the leading and kerning of your font 

Check the spacing between characters (kerning) and the spacing between lines (leading) to ensure your design is even and readable. While letter spacing may seem like a small detail, it can make or break the subconscious visual impact of your font choice for your viewer. Spatially, your design should flow in a natural and organic rhythm. If the viewer doesn’t notice the leading and kerning of your design, you’re doing something right.

Don’t choose a font that is so stylized it is unreadable 

Legibility is the most important factor to consider when choosing a font. Regardless of how interesting the font is, if your “C” looks like an “O” your design, is flawed. Scan your font characters to ensure they all look unique. If you absolutely love a font, but one letter does resemble another, you can always use a program like Illustrator to adjust the characters slightly.

Don’t pair two overly stylized fonts together 

Too many fonts, like too many colors, can make for chaotic design. One decorative font within a design is typically enough. If you add another decorative font, make sure to use a variety of font weights and sizes to create hierarchy, and keep your color palette monochromatic to create cohesiveness.

Don’t choose a font that is overly recognizable 

The point of choosing a seasonal font is to immediately evoke a specific feeling or reference a recognizable experience before the viewer has a chance to read your content. You’re speaking to their subconscious a little bit. But if you choose a font that is too strongly associated with a specific brand or product (the fonts for the films The Nightmare Before Christmas or Friday the 13th come to mind), your design may read as unoriginal or cheap.

Don’t take too many risks with your layout 

Just as with color and font, a little experimentation with non-traditional alignment goes a long way. If you’re using a seasonal font, keep your grid simple. Good design should always come first.

Here are a few decorative fonts I plan on using this Halloween season:

Helmswald Post

Hanley

S&S Nickson

Mrs Monster

Do you have a favorite spooky Halloween font? Let us know in the comments below!

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