Con ese estilo que tienes tan característico y esos toques de humor tradicionalmente presentes en tus textos, sin duda una lectura muy recomendable. Tus pecados se pueden usar para una baremación o como variables de un análisis tipográficos. Saludos.

Indeed, a very interesting, competent and also poetic answer from Roberto Gamoral.

Just summarizing, the choice of a given typography in a text is intrinsic linked to the character of the text, its content, its targeted public, the overall layout, format of the publication and all the basic rules of graphic design and composition. It calls for inspiration and it gives the visual image that is communicated, beyond the text itself.

Thank you very much for your reply. Glad you liked the approach of the article.

Fully agree with the choice of a typeface depends on the text, the content and the audience it is directed.

I usually say that there is no right or wrong typography but good or misused.

Muchas gracias, Manuel. Precisamente este artículo nace de una clase introductoria a la Tipografía para alumnos de Periodismo a los que todas las letras les parecían iguales y les daba lo mismo su uso. Así que busqué la manera de captar su atención y en vez de decirles lo que tienen que hacer, con ayuda de los grandes maestros a los que cito, me enfoqué en los fallos para que apreciaran el buen uso de la tipografía.

 I would say that typographical choices are mainly a question of contexts.

Technical context (display-context and processor-context), 

Glyph range, 

availability of typefaces, 

cultural or reader context,

content-context,

visual or layout-context and

a subtext by which the author or the typographer can influence the reading of a text.

Adding to Roberto's detailed paper, which I could only partially understand, and Philipp's precise points, I would like to detail and add one more area to look into, i.e., Product Category Space.

If a designer is deciding on the typography for the a particular product, it is essential to review the other products in the category space. Example, if a designer is typesetting a fiction book/novel, s/he must review the typeface and typography in various novels in the market. This will help in establishing the 'typicality'. Then, s/he can decide to either follow the same template by being typical or go against the wave by going atypical.

Similarly, while designing for children the choice of a serif can lead to a bad design, as serifs are often considered to be 'text-book types'. So, types should be chosen as per the context, and specifically through reviewing the product category space.