Big type behaves differently than little type. Things like “optical alignment” and “typographic mood” take on new meaning. The sections that make up this module provide a solid foundation for creating good display typography.

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  Visual Alignment

  Designers are used to being detail-oriented and mathematically precise, nudging things a point this way and a pixel that way until technical perfection is achieved. However, when it comes to typographic alignment, the mathematical approach to design doesn’t apply: it’s all in the eye of the beholder.

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  Reverse Display Type

  Reversing type – that is, placing light or white type against a darker background – is a useful way to add emphasis as well as to help develop a strong typographic hierarchy. A reverse headline can provide an inviting, eye-catching point of entry, signaling the viewer to “look here” before moving on to the other elements.

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  Spacing Display Type

  When you purchase or work with a professional quality font, your assumption might be that the spacing won’t require manual adjusting. However, display settings occasionally need a bit of finessing to look their best, as built-in spacing and kerning cannot be flawless over a wide range of large sizes. Small adjustments can make a big difference. Here are some important factors to consider when setting type at larger sizes.

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  Display Margins & Centering

  A simple typographic rule states: if it doesn’t look right, it isn’t. Anyone setting type can increase its readability by making manual adjustments to alignment. Making things “look right” typographically, often requires overriding mathematical accuracy with optical correctness.