When using novelty, script or elaborate typefaces be aware of readability concerns and make sure the type is plenty big. Typeface selection: More interesting typefaces can appear larger and draw the eye faster than ones with less visual intrigue.Here are some of the most common techniques: There are a variety of ways you can create a sense of hierarchy. ![]() You can apply this same technique to any design project by adding emphasis in key areas. Looking at the step-by-step example above, you can clearly see different levels of typographic hierarchy and how it makes the design both easier to read and more appealing visually. Using size, color and other effects to make certain bits of type appear large and more important and scaling accordingly is all you really have to do to get a good start. Visual hierarchy in print projects is strictly visual. Examples of other levels include links that are underlined, bold words for impact or italics or color for emphasis. Effects are used sparingly and for only a few words in sequence. These effects work best when applied to text of the same size and typeface used in the tertiary level. Effects such as bolding, italics, underlining and color can bring attention to specific areas of the main text. The other levels of typography include effects applied to type in the tertiary level for small areas of impact. ![]() The typeface should be simple and consistent in design, spacing and overall usage. It is often some of the smallest type in the design, but it needs to be large enough to be completely readable by all potential users. The tertiary level of typography is the main text of your design. The design of these text blocks is on the large side, but typically much smaller than lettering in the primary level of typography. This includes elements such as subheads, captions, pull quotes, infographics and other small blocks of text that add information to the primary level of text. The secondary level of typography are the nuggets of scannable information that help readers stay with the design. This is the biggest type in the design (unless you are using typographic art). ![]() It’s headlines and decks – also known as “furniture” – that draw readers into the design. The primary level of typography is all of the big type. Combinations of those design tools are used to create type that falls into distinct layers. Designers achieve this through the use of typefaces, size, weight, capital and lowercase letters, bold or italics, orientation and color. Typographic hierarchy creates contrast between elements. Can you imagine reading something where everything is the same font and size and color? Where do you start? How do you know what matters most? Without typographic hierarchy, every letter, every word and every sentence in a design would look the same. Typographic hierarchy presents lettering so that the most important words are displayed with the most impact so users can scan text for key information. Typographic hierarchy is another form of visual hierarchy, a sub-hierarchy per se in an overall design project.
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