The designer must provide the reader with clear differentiation between body and display type and this is achieved by the relative relationships of

• Size
• Position (indenting, outdenting)
• Weight (bold or plain)
• Case (capitalization)
• Style (changing from serif to sans serif)

It is most important to become aware of the “big–picture” taking into account all the possible text elements that you may need to use (body text, captions, headings, etc.). Then mock up a document using these elements (in variations). Essentially, you need to experiment. Not even the best, most experienced designer will choose a typeface without going through all or most of the steps below.

• Look for typefaces that look good together and try mixing serif and sans serif faces that relate to each other (same type designer, similar feel, good transitions).
• Check to see that all the members of the family are present and don’t use the computer’s version of italic; use the type designer's version and check to see that all the characters and symbols you will need are present in the font character set.
• Most importantly, look for typefaces that are readable and fit the tone of the document.
• See how the document looks with various elements such as the longest and shortest paragraphs, captions, headings, etc., and then try these elements in combinations. This will help you to see what your needs will be when creating your document and will help you to make appropriate choices and not get caught unawares later on.

• Adobe Caslon (Carol Twombly)
• Minion (Robert Slimbach)
• Bodoni (Giambattista Bodoni)
• Glypha (Adrian Frutiger)
• Sabon (JanTschichold)
• Stone Serif (Sumner Stone)
• Monotype Modern and Garamond (Claude Garamond)

• Myriad (Twombly & Robert Slimbach)
• Frutiger 57 condensed (Adrian Frutiger)
• Univers 57 condensed (Adrian Frutiger)
• Gill Sans condensed bold (Eric Gill)
• Stone Sans (Sumner Stone)
• Futura (Paul Renner)
• Optima (Hermann Zapf)
• Ocean Sans