Module: Display Typography
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.
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.
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.
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.
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.
Headlines and other display type usages are meant to be noticed. One type treatment frequently employed to achieve this is the use of all capitals (usually referred to as all caps).