THE NON-DESIGNER'S TYPE BOOK
* There should always be a little more space above a subhead than
below it to ensure that the subhead is visually connected with the text
it refers to. If the subhead is too far away, or if it is the same distance
between the text above and below it, the subhead appears to be an
unconnected, separate element.
* Create a clear distinction between heads and subheads. If the only
difference between your head and subhead is size, then make sure
they are significantly different sizes. You might want to italicize the
subheads, or if you have a rule (a drawn line) beneath the headline,
remove the line from the subhead.
* Always avoid awkward line breaks. Read your heads and subheads
carefully for fine breaks that might cause confusion or ambiguity,
for silly line endings, and of course don't hyphenate.
* Choose a typeface for your heads and subheads that provides a
strong contrast to your body text. This creates a contrast on the
page that not only is visually attractive, but also strengthens the
organization and makes a clearer path for the reader to follow.
Generally, your body text is a serif face, since extended amounts
of text are easier to read with serifs. If so, a strong, bold sans serif
is a good choice for heads and subheads. If you don't have a strong,
bold face in your font library, you'll find that an investment in one
is your single best investment toward more effective design and
If your body text is a lightweight sans serif, the strong bold in the
same font would work well for headlines. Just make sure there is
a solid difference between the light weight and the heavy weight.
For instance, the Helvetica Bold that comes on your computer is
not bold enough to stand out effectively.
You might also want to consider a heavy slab serif face as a headline
type, which is so different in structure and weight from any readable
sans serif or serif that it works well as a headline type with almost
i 8 : HEADLINES AND SUBHEADS
Now that you've read through the guidelines, circle the appropriate places
in the story below where you see the principles being used. Not every single
guideline has been used in this one example, of course. How many do you
follow in your work?
Giacche Enne Binnestaucche
Uans appona taim liasse disse boi.
Neimmese Giacche. Naise boi. Live
Liite ise mamma. Mainde di cao.
Uane dei, di spaghetti ise olle
aute. Dei gonna feinte fromme
no fudde. Mamma sci sai,"Orai,
Giacche, teicche di cao enne treide
erre forre bocchese spaghetti enne
Bai enne bai commese Giacche.
I garra no fudde, i garra no uaine.
Meicchese mesteicche enne treidese
di cao forre bonce binnese. Uate
Mamma, seise engri. Giompe appe
enne daonne craine,"Uara iu, somme
caine creisi?" Denne sci tro olle
binnese aute di uindo. Necchese
dei, Giacche lucchese aute enne
uara iu tincche? Ise si disse binne¬
staucche uate ricce appe tru di
claodese. Somme uide!
Giacche gose appe di binnestaucche.
Ise disse ogghere! Ise menne nainti
sicchese fu taulle uite tri grin aise!
Enne i garra ghusse uate leise ghode
Giacche ielle "Ciao!" Denne ise
grabbe di ghusse enne cuicche
claime daonne fromme di binne¬
staucche. Ise go cioppe cioppe uite
di acchese. Di nainti sicchese futte
menne ise faulle enne breicche di
Mamma sci giompesse fromme gioi.
Meicchese naise ghusse cacciatore.
Bai enne bai, dei garra no morre
fudde. Dei gonna dai! Uatsa iuse?
Uara iu gonna du uenne iorre
ghusse ise cucchede?
Mmjf thanks to Mkkatt Howkyjòt
lMfriJqg this tlfìifilufiti st<>ry ,ibn\¡ u> m
Typefaces are Eurostile in the heads and subheads,
Bembo in the body copy.