How to Structure an Effective Typographic Hierarchy Part Two
The company logo design combines a serif and sans serif typeface that both have a slightly retro, high-end mood.
Designers should use contrast to their advantage, too. Combining thin and thick typefaces often works better than combining two that are very similar in weight.
Bench combines bold and lighter weight fonts to draw attention to particular pieces of type.
Look for typefaces with similar x-heights (the distance between the baseline and the mean line of lower-case letters in a typeface). This helps prevent conflict between typefaces. Other things that help prevent conflict include similar kerning and character shapes. Typefaces with very round letterforms shouldn’t be combined with more square typefaces.
While guidelines can be helpful in creating typeface combinations, nothing will replace experimentation and practice. Designers should spend time experimenting with typefaces and practice combining them as often as they can. Finding a few fallback typeface combinations that can work in a variety of contexts is also helpful for projects where the budget and resources available don’t allow for a ton of trial and error.
Choosing a font might be very important, however, in hierarchy, there's nothing more important than taking care of the size of the typeface.
The size of the text determines the order of the reading. When a word or phrase is bigger than the other in the same body, it will be noticed and read first.
In this image shows three different sizes of text, the biggest one will be the first one to read, since it covers half of the body, and even though it is placed in the bottom part, it will still be read at the beginning, them the middle that it's in the top left part, and them the smallest one at the middle.