Concord is the result of the blending of the typographic elements to give a uniform impression; color, texture, size, proportions, and affinity of the type faces combine to produce this effect.
Contrast is the opposite of concord; it is based on a unity of differences.
It is possible, for example, to make use in a design of two letters of the same type face but of substantially different sizes, but their structures are in concord; the result is harmony.
Contrast in size is only effective when used with discretion.
Type rules and squares are most convenient to use, and they can be worked up into solid letters, shaded letters, shaded letters with shadow edges, or open letters defined only by the rules to cut to indicate a shadow.
The applications of contrast in size are almost universal; there is scarcely a job where a large letter or word cannot be used to striking effect.
The creation of light and dark areas within a drawing is an effective device used by artists to dramatize their subject, and it is called chiaroscuro.
Within a display line, a single word can be given prominence and importance by a change to black-face letters.
The contrast provides direction signs for the reader looking for specific information.
The chief use of structural contrast is to emphasize an initial of a word or a name, or to emphasize a word in a line, or to add to the contrast between a heading and the text.
There is scarcely a job where structural contrast of type could not be employed to the advantage of the appearance of the finished product.
The most elementary contrast in typography is the contrast between the forms of letters.
When contrast of from is employed, it is often advisable to carry it through in every aspect.
Monotony is avoided when the type of the heading is in complete contrast to the type of the body of the text.
Employing color as a contrast on the printing page was carried forward from the manuscript into printing.
Use of a second color can be visually stimulating.
Colored areas and the black and white areas should never be in perfect balance.
Use of second color for contrast can often make a printed job much more effective.
Balance can be disturbed by slanted line of text.
Type composition built around a point of conflict hold more effectively.
Whenever there is a dominant vertical or horizontal element in any given rectangular area, width or height, can be accentuated through the use of opposition in direction.
Textural contrasts involve the interplay of structure and weight.
Certain quality of unity may be sacrificed when the detail is enlarged.
Textural relationships employed within a heading alone to create visually stimulating contrasts.
Contrasts depend on the ability to strike chords.
Printers’ rule themselves can provide typographic emphasis.