Chapter 6

Consider the medium the typeface was initially designed for. The extreme of this, is to always use letter press type faces, specifically when printing using a letter press. Consider the typeface, because there are different effects the process of laying down the type will actually have on the aspects of the letters.

Be wary of choosing typefaces depending on what the final product will be produced in.

Choose faces that suit the task as well as the subject. Choose faces that can hold up under pressure, and handle all of the effects that you need them to. Consider the different aspects of the text, and their strengths and weakness and choose the one that is strongest in the area you need it to be. A great deal of italics? Choose a font that has awesome italics.

Consider the historical aspects of the text. Don't use some sort of old english text to advertise for some internet cafe, unless it is medieval themed I guess. Use correct styling for the type of text. Renaissance type? Use Renaissance typography. Choose type faces with the appropriate cultural associations.

Consider serifed and unserifed fonts on their inner structure. Choose non latin alphabets as carefully as latin ones.

Generally speaking, many typographers, when using other languages, spend little time going through and considering the type face for the non-latin alphabet. Take everything into consideration what we've learned int he previous chapters about selecting a face from your own alphabet as with selecting a face from a foreign alphabet.

Chapter 5

Use the mid point. It stands to be the most simple typographic punctuation, and can often add a lot a phrase, or title. The midpoint easily breaks up the monotony a title. When using other numerical punctuation, keep with the font and type face. Don't borrow from other type faces, if they are presented in the same body copy.

There are some analphabetic characters that are often poorly designed, square brackets, the pound sight, and few others, be wary of those dastardly symbols. Use EN dashes, rather than EM. Computers usually offer only one type of dash, but there are usually at least three. Use em dash followed by a space to introduce speakers.  Treat punctuation as notation most of the time, not expression. Basically these rules state, that, if you are going to use punctuation at all, make sure it fits the font. Don't go beyond what you need to do. Most punctuation should be set in roman, it is technical notation, not expression. Omit the apostrophe from numerical plurals.  4 x 43s etc. Use punctuation as a tool to accent and compliment the manners of speaking and overall flow.

Chapter 4

The title page of the whole piece should always reflect the overall feeling of the body copy that follows. Don't let any titles take away from the body text. Either have the titles be a form relative to the body text, or something extremely large which also adds to the text featured. If it is not large enough, but much larger than the body copy, the text needs to be of a lighter weight - you can do this either by having a lighter weight type face, or screen the type to make it appear lighter. Keep the titles and openings conducive to the overall feel of the design. Best way to set titles is to start from the margin.

There is no rule to how many levels of headings you need.

Notes about notes:

• Notes should be set in a small size, endnotes supersede footnotes.
• Use superscripts in text, but full size numbers in notes.
• Present endnotes obviously, so readers don't have to hunt.

tables and lists must be easy to read. They should be set horizontally, work out the copy, don't condense the text to uncomfortable levels just to make it fit. Use limited punctuation and set columns of figures flush right. 

Leave adequate space at the beginning and end of every publication, otherwise its like being push into a pool and the pull out violently.