Articles: typography

The word sounds technical, but the subject is simple: how the letters in your material look and whether they help people read. The same sentence in a different font can look elegant or cheap, calm or loud. The advice here applies to leaflets, menus, invitations and anything else read off a page.

Choosing and pairing fonts

One rule covers most cases: two fonts are plenty. One for headings, one for body text, clearly different from each other. Decorative, handwritten letters look lovely on an invitation or a menu cover, yet they tire the eye in a longer description. Capitals catch attention in a short line; a whole paragraph set in them reads far more slowly.

Hierarchy, spacing and legibility

The second group of articles is about order. A reader should work out what matters most within seconds, and that comes from the size and weight of the lettering rather than extra colours. Space helps just as much: the gaps between lines, the margins and a little air under every heading. Bigger is not always the answer either - one line in bold can outrank a heading two sizes up.

• Three levels are enough - heading, subheading and body text; more steps only confuse.
• Line spacing - text set too tightly looks harder than it really is.
• Contrast - dark letters on a light background read most easily, poor lighting included.
• Small print - legal notes can sit in a narrow column with a rule above them instead of shrinking further.
• Words alone can carry a piece - a design with no photograph still holds attention through its lettering.

The easiest way in is the piece you are working on right now: choose two fonts, settle three sizes and look at the result from arm's length. The answer is usually obvious.