Listen to the phrase
A title already has a rhythm: stressed words, pauses, a change of tone. Before selecting a treatment, read it aloud. Which part carries the thought, and which part prepares for it?
Those relationships can become typographic decisions. A break can make a pause visible. A shift in weight can establish a second voice. The form begins with the language rather than sitting on top of it.
Disturb with a reason
Once the plain setting is clear, introduce a change. Separate a letter, compress a line or let the scale become uncomfortable. Compare the new reading with the original.
The question is not whether the result is more unusual. It is whether the change adds a useful layer: a hesitation, an emphasis, a different route through the phrase.
Leave a way back
An expressive title can ask for more attention if another part of the composition offers orientation. A plain caption or a small repeated label can keep the page open to the reader.
This is not a requirement to explain every visual choice. It is a way of giving experiment and communication room to exist together.