there is no confusion regarding where the title is, and where your eye
should go next.
Clever use of typographic color reinforces the visual hierarchy of a
page, which is always directly tied to the meaning of the copy and the
desired intention of the message.
Don՚t Mix Moods
One often-overlooked typographic mistake is not recognizing the inherent
mood of a typeface. Typefaces have personality. They change to some
degree based on context, but not greatly. It՚s one problem to misidentify
the personality of typeface for a particular job, but it՚s a double-problem to
add another poorly chosen typeface to the mix!
On the left of this example, we have Franklin Gothic Bold paired with
Souvenir. The basic feel of Franklin Gothic is stoic, sturdy, strong, but with a
refined sense of elegance and mission. It՚s not cuddly, but its functional.
On the other hand, Souvenir is playful, casual, a little aloof, and very pretty.
These two typefaces together come across like a Buckingham Palace guard
who is dutifully ignoring a playful little girl at his feet trying to get him to
smile. This kind of mixed-mood just doesn՚t work very well. Mixing the
mood of typefaces can draw attention to the typography instead of the
message, which results in a poor design.
On the right of the following illustration, we՚ve given Souvenir a more
willing playmate. Futura Bold has many personalities, but it՚s more than
willing to accommodate Souvenir for several reasons. First, both typefaces
have high x-heights. Both typefaces have wide glyphs and very circular