This dissertation aims at establishing a discussion between two ways of thinking the solution of typography in the graphic space: the one in which the designer emphazises the sense and the one which focuses sensibility. Through an analysis of the meaning of modern and pos- modern eras, we first investigated the context which gave rise to those two ways of thinking. Subsequently, we examined the ideasof some authors concerning the best way of arranging typography in the graphic space, bringing the discussion to the design context. We started analysing different ideas on this topic, and then focusing in three authors: Jan Tschichold, Emil Ruder and Wolfgang Weingart. After a short historical review, some practical examples have been selected to demonstrate the graphic believes of each one. After that immersion in the past, we brought the question to contemporary times, studying it through the point of view of designers to whom this aspect was also important. A case study of spreads taken out from the brazilian magazine Gula was developed, in which graphic elements related both to racionality and sensibility, were identified. Various images were reproducted in the chapter four, in which a graphic analysis of the material was carried out. The objective of this dissertation was to raise some points that might help futures discussions and research over this vital point to the designer: the various ways of arranging typography in the space.