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

14. USE WEIGHTS TO CREATE PATTERNS AND GUIDE THE EYE

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

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

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

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

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