Now that you have a solid understanding of time-tested typographic rules, you can freely explore more active and dynamic ways to working with type.

Because type is viewed as well as read, it is governed by the principles of visual syntax. The first step in exploring type is to have an understanding of these factors and the ability to consciously apply them. Here are four basic categories to consider when applying the principles of visual syntax.

By exploring your own “typographic expression,” you will find new ways of solving typographic problems.

The 4 Categories In
Typographic Experimentation 

Typographic:
The manipulation of letters and words such as case, face, size, slant,
weight, and width.

Form: The
alteration of existing typographic forms such as blending, distortion,
elaboration, outline, texture, dimensionality, tonality.

Space: How
elements are physically related to one another on a page such as
balance, direction, ground, grouping, proximity, repetition, rhythm,
and rotation. 

Typographic
Support: Non-typographic elements that augment typographic forms
such as ruled lines, shapes, symbols, and images. 

These guidelines are not absolute nor are they definitive, but they are representative of time-tested typographic “rules.” Once you have a good foundation of these rules, you can freely journey into unconventional terrain. We will explore ways to creatively “break the rules” in upcoming months.

	Rule 1: For optimum legibility, choose classical, time-tested typefaces. These typefaces should be drawn and crafted with consistency among characters, and exhibit highly legible proportions. Examples include: Baskerville, Bembo, Bodoni, Caslon, Centaur, Franklin Gothic, Frutiger, Futura, Garamond, Gill Sans, Goudy Old Style, Helvetica, News Gothic, Palatino, Perpetua, Sabon, Times New Roman, and Univers.
	Rule 2: Be mindful not to use too many different typefaces at any one time. The main reason for using more than one typeface is to create emphasis or to separate one part of the text from another. When too many different typefaces are used, the reader is unable to determine what is and what is not important.
	Rule 3: Avoid combining typefaces that are too similar in appearance. If the reason for combining typefaces is to create emphasis, it is important to avoid the ambiguity caused by combining types that are too similar in appearance.
	Rule 4: For text type use sizes that according to legibility studies prove most readable. These sizes generally range from 8 to 12 points for text that is read from an average distance of 12 to 14 inches. Be sure to remember that sizes (based on the x-height of letters) appear different from one typeface to another.
	Rule 5: Avoid using too many different type sizes and weights at the same time. Some experts recommend using no more than two sizes, one for display titles and one for text type.
	Rule 6: Use text types of book weight. Avoid typefaces appearing too heavy or too light. Text typefaces that are too light cannot easily be distinguished from their backgrounds. In typefaces that are too heavy, counterforms diminish in size, making them less legible.
	Rule 7: Use typefaces of medium width. Avoid typefaces that appear extremely wide or narrow in width. Rather than distorting text by stretching or squeezing the text width, use type families that include condensed and extended faces that fall within accepted proportional norms.
	Rule 8: Use appropriate line lengths. Lines that are too short or too long disrupt the reading process. As the eye travels along overly long lines, negotiating the next line becomes difficult. Reading overly short lines creates choppy eye movements that tire and annoy the reader. When working with text type, a maximum of about 70 charters (10 to 12 words) per line is thought to be most acceptable.
	Rule 9: For text type, use lines spacing that easily carries the eye from one line to the next. Lines of type with too little space between them slow the reading process; the eye is forced to take in several lines at one. By adding one to four points of space between lines of type (depending on the specific typeface), readability can be improved.
	Rule 10: For optimum readability, use a flush left, ragged right type alignment. Although in special situations, other type alignments (flush right, ragged left; centered, and justified) are acceptable, the tradeoff is always a loss, however slight, in readability.
	Rule 11: Strive for consistent, rhythmic rags. The purpose of effective rags is not only to achieve aesthetic beauty, but to enable readers to move gently and effortlessly down a text column. Effective rags consist of lines establishing an informal but consistent pattern of line endings.
	Rule 12: Clearly indicate paragraphs, but be careful not to upset the integrity and visual consistency of the text. The two most common ways of indicating paragraphs are by indenting and inserting additional space between paragraphs.
	Rule 13: Avoid widows and orphans whenever possible. A widow is a word or very short line at either the beginning or end of a paragraph. An orphan is a single syllable at the end of a paragraph.
	Rule 14: Emphasize elements within text with discretion and without disturbing the flow of reading. You can use italics, underlined type, color type, different typeface, small capitals, capitals, bold type within light type, light type within bold type, larger type, and outline type to emphasize elements but never overdo it. Use minimum means for maximum results.
	Rule 15: When working with type and color, ensure that sufficient contrast exists between type and its background. Too little contrast in hue, value or saturation, or a combination of these factors, can result in type that is difficult, if not impossible, to read.

Management just approved the budget for a 4-color newsletter. Now you’re worried that unless you use all the colors in the rainbow, your readers will feel cheated. How much or little color should you use? In some instances, lack of color can be an asset. In others, liberal use of color can intrigue and entertain.

The first and foremost point in using color is to use it purposefully. Consider the topic and purpose of your newsletter as well as your audience.

Is your company an accounting firm prospecting new business by targeting CFOs of Fortune 500 companies? Or, are you selling natural food products to consumers?

Color as Meaning

Similar to other visual components such as illustrations and photography, color can help create meaning.