As any writer will tell you, the written word is more than the sum of letters on a page or a screen. One of the most important things good writing will have is a distinct voice. In writing, voice is the tone, pace and volume in which the reader reads your writing. It's how a piece "sounds" when you read it, even in your head. Good writers can and should do this with words alone, but more than words can guide the voice of a piece. Typography, the act of manipulating how words look, can have a dramatic effect on the written word by helping to set a the voice of a piece. It can amplify the message behind the words and help the words play in the same creative space as any graphics that may accompany them. Great typography on a poster, CD cover, business card, greeting card or even print article isn't always essential but it does help to get your piece noticed. While it's possible to lay out text by hand or with other computer programs, a layout program like Indesign or Quark will help exponentially.
Instructions
A graphic voice.
1. Font size. The simplest way to affect the voice of a piece is by font size. Larger font sizes will seem louder, smaller will seem quieter. Larger size will convey boldness, confidence, surety and, in the right context, attitude. Smaller will seem subtle, an afterthought, or in the right context, even smarmy. Much of the power font size has over the voice of a piece is in context with other elements on the page.
2. Font type. Programs like Word or Textedit come with a few dozen common fonts like Times New Roman or Helvetica, but if you are trying to make a statement with type these fonts are best avoided. A near endless variety of fonts are available free or a small fee, and there are font books available for purchase almost everywhere software is sold. A good rule of thumb to keep in mind is that sans serif fonts, fonts that are clean, slim and plain looking, have a modern voice, while serif fonts like Times New Roman has a more historical voice. Spend a little time searching for the perfect font; it's always worth the effort.
3. Font color. Color should be used sparingly or with great care in longer blocks of copy, but in headlines, titles or other short attention grabbers, color can really separate your piece from the other media that clutters our everyday lives. Red is an angry, strong color; blue is calm or cool; yellow is happy; purple is regal and lofty. Take cues from your written and graphic subject matter when deciding how best to use font color.
4. Grouping. Specific ideas can be separated by separating the groups words that convey them. This can be done for emphasis, comparison, or simply for aesthetics.
5. Contrast. Contrast can be created using size, color or font type. It is created when a specific voice is placed next to an opposing voice, often a directly opposing voice. High contrast can be used to create, among other things, a sense of urgency, strength, obviousness or irony.
6. Concord. This is similar to using contrast, but much more subtle and sometimes difficult to pull off. Like contrast, concord can be created with size, font or color. It is created when a specific voice is placed next to a similar and complimentary voice. Concord can be used to create, among other things, a sense of age or experience, a high level of knowledge, wisdom or quiet confidence.
7. Typesetting. This is purely an aesthetic aspect of typography. Typesetting is used to affect the spaces between individual words, between individual letters, and the vertical spacing between lines. Don't assume that a font will automatically have ideal typsetting; in fact, almost all non-handwriting fonts don't. Generally speaking, the tighter the spacing the better, insofar as readability is not negatively effected. Tighter spacing will make your text look more professional and thought out. Bolder and larger fonts can take much tighter spacing and still remain readable than can skinny or small fonts. The vertical space between the individual lines of a block of copy can be manipulated to give the writing a specific meeter that can accentuate a piece well.
8. Layout. Once you have all your text looking just perfect, it's time to set it in the right place on the page. If placed over an image, text should be placed in an area where it will be the most readable. For example, don't place black text over a dark portion of an image. Text should also be placed in a way that compliments the image and in a way that draws attention to the specific area of the image you'd like your audience to look at.
