The document provides guidelines for selecting the appropriate typeface for a design goal. It discusses considering the audience, legibility versus readability, text versus display typefaces, when to incorporate typography with illustrations, when to use script or calligraphic fonts, when a font is not sufficient and requires custom lettering, and tips for mixing typefaces.

1. SELECTING THE RIGHT TYPE FOR
THE JOB
Although typeface selection is very personal,
subjective decision, there are some
guidelines and unofficial rules the will help
you narrow your search and help you to
make the right choice

2. DESIGN GOAL
To focus your design goals and subsequently the most appropriate
typefaces to use, start by identifying the age, attention span, and
demographics of your audience. Different typefaces attract a different
audiences. Once you identify your design objective, your typeface
choices will narrow considerably

4. LEGIBILITY AND READABILITY
One often hears type described as being legible and or readable. They actually refer to
two very different things. Legibility refers to the actual design of the typeface, while
readability refers to how the typeface is set.
Legibility of a typeface is related to the characteristics like size of the counters, x-
height, character shapes, stroke, contrast, serif or lack thereof. Not all typeface are
designed to be legible.
Readability is related to how you arrange the type. Factors affecting type’s readability
include size, leading, line length, alignment, letter spacing and word spacing.
A legible typeface can be made unreadable by how it is set, while a typeface with poor
legibility can be made more readable with these same consideration.

5. TEXT VS DISPLAY
There are two main categories of type: text and display.
Text type is designed to be legible and readable at small sizes. This implies consistent,
uncomplicated design features, more open spacing than a display face.
Display type can forgo the extreme legibility and readability for a stronger personality,
elaborate and more expressive shapes, and more stylish look

8. TYPOGRAPHIC ILLUSTRATION
Sometimes a design cries out for a solution that blends type with
illustration to get a concept across in a strong, nonverbal way. This could
mean incorporating type within an illustration, making typographic
glyphs illustrative, or even making the type part of the illustration.

12. SCRIPT, CALLIGRAPHIC AND
HANDWRITING FONTS
They can overlap both text and display categories. Script and Calligraphic
are often used for invitations, announcements, headlines and initial
letters. These fonts are fun to use but use them with caution, as they
make a very strong graphic statement that can either go a long way
towards communicating your message or stop your audience cold.

14. WHEN A FONT IS NOT ENOUGH
Some jobs require the kind of typographic treatment and interpretation
that cannot be achieved with an existing font. In such circumstances, the
unique talents and skills of a hand-letterer or a calligrapher should be
seriously considered.

19. MIXING IT UP
A common mistake is to use two or more faces that are too close in style,
making the change not noticeable enough to serve the purpose at hand.
Combining typefaces when you want to emphasize or separate a thought,
phrase, or text visually. The eye needs to see distinct differences for this to be
achieved effortlessly.