Font and font compositions. Training “Creative Typography”

Depending on the relationship that develops between the font and the image, there are 2 types of compositions: the actual font composition (the font interacts with the unprinted space or colored background) and the graphic font composition, which includes graphic font, ornamental font, pictorial font and photographic font.

Font graphic composition is a combination of geometric shapes and font. It is most widely used in the development of logos and brand marks.

Font ornamental composition is a kind of ornamental construction in which letter signs alternate in a certain order. It is a decorative element.

Font graphic composition (combination of font and design). Widely represented in the book. The main carrier is the initial letter. Recently, the interpreted letter is often found not only in the form of a drop cap, but is also part of the title.

Font photographic common in advertising. This composition presents the product through photography in the most favorable light. This requires a creative approach to the task at hand. Font photographic composition is characterized by simplicity, laconicism and obvious associative connections.

Word graphics. Stages of constructing a visual image

Interpretations of words using compositional means of type design.

In design, the word plays a significant role. The word is the basic element for creating a font composition. The word allows you to convey the content and perceive it correctly.

The main function of a word is defined as nominative, that is, serving to name or designate an object. Vague philosophical concepts and adjectives evoke different images in people. The form of the graphics is fundamental, and the content comes second. In language, a word is used in 2 physical forms: sound and graphic.

A sound word allows a person to perform mental operations with an object without entering into direct communication with it. But the sound has a significant drawback. It is relatively limited in space and time. The graphic word compensates for this limitation and transmits thought over long distances, and also preserves it for a long period. But it is inferior to the sound word in playback speed. This makes both forms functionally determined and interacting as a whole.

First, a person perceives the form of the word, cat. evokes in his mind the concept of an object or an image. Or, conversely, consciousness is influenced by the object itself (its image). He names the word corresponding to it in the form of a concept. Then associations arise, the word acquires a number of semantic shades. This is important in advertising. The image or text should always be easy to remember.

The form of a word is always understood as the sequential arrangement of certain forms and letters. The definition of content should be viewed through concept or meaning. A concept is a complete set of judgments (a set of thoughts) in which something is stated about the distinctive features of the object under study. Chief among this totality is the core with its essential features.

The meaning of a word is broader than the concept itself and should be considered from the point of view of its specificity and, based on this, connections and features should be established. Work on word graphics should include the following steps:

1) statement of the problem;

2) determination of the content of the word, considered through the concept or meaning;

3) the choice of semantic emotional and volitional shades of the word, on the cat. emphasis will be placed in the process of gardic interpretation of the word;

4) selection of graphic and technical tools to solve the problem.

Phrase graphics. Stages of creating a graphic

Image of a phrase using compositional means

Font design.

The main focus in font composition is on the meaningful structure of the sentence. The main role belongs to the judgment about the subject. In this case, the proposal acts as a shell for the judgment, ensuring their unity and the impossibility of one functioning without the other.

Judgment is a form of thought, in a cat. something is affirmed (or denied) regarding objects, their properties, connections and relationships. First, the structure of the sentence is determined (subject, predicate), then the logical structure of the judgment is analyzed. Particular attention is paid to such methods as division into the main and auxiliary, subordination, selection, rhythm and movement through the composition. The proposal is richer in content than the judgment, because it carries emotional and aesthetic properties.

Identifying the hierarchical connection of elements and parts of a phrase makes it possible to discover and strengthen what should be the main thing, taking into account the meaning and characteristics of visual perception. The relationship of the main word or part of a phrase to other elements or actions, relationships with the context are important. A phrase can also be built on associative representations, cat. enhance the overall meaning (metaphor, hyperbole, play on words, etc.). Isolation, displacement, and change in semantic emphasis also create associations and activate the imagination. It is necessary to find the optimal relationship between the rhythm of the intonation division of the phrase and the rhythm of the font graphics.

In cases where the thinness is increased. expressiveness of f-we, graphics and is read and viewed. The font graphics of a phrase are intended for viewing and differ from reading in the spatiotemporal sequence of image formation. Division is a gradual accumulation of data, from the cat. an image is built, i.e. the process develops from the particular to the general. Upon examination, the opposite effect occurs, the image is formed immediately, and further study of the graphics consolidates it.

Stages of working on graphics:

1) research of the content of the phrase;

2) determination of priorities (what is the main thing and what has a subordinate role)

3) choice of graphic design tools.

Modern approaches to font design.

Stages of font design:

1) accumulation and analysis of information;

2) development of concepts (a concept is a description of goals and plans;

3) development of sketches (at this stage we are talking about developing the main elements of the font: serifs, super-letter elements; proportions are being worked out; some letters of the font are created in several versions);

4) selection and approval of sketches by customers;

5) development of the entire project;

6) analysis;

7) adjustment of the project;

8) the order is sold on the medium specified in the contract.

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Target: introducing students to graphic design.

Tasks:

• introduce students to the art of type, expressiveness and imagery of type composition;
• teach the construction of sans serif font;
• develop skills in working with drawing tools (ruler, square, compass);
• form ideas about free font;
• develop components of visual thinking (fantasy, visual-figurative memory, emotional and aesthetic perception of reality);
• to cultivate interest and love for fine arts, emotional responsiveness;
• to cultivate diligence, accuracy, exactingness and respect for work, and increase self-esteem.

Equipment for the teacher:

• presentation. PPT;
• an exhibition of works by students from the collection of the fine arts classroom;
• a marker board with colored markers or a computer graphics program in which the teacher can draw (for example, Compass-3D-LT);
• drawing tools for board.

Equipment for students:

• drawing tools and materials (30 cm ruler, square, compass, pencil);
• drawing paper size A4 (A3 for work in small groups);
• graphic material (colored pencils, markers, pens) and glue sticks, scissors, colored paper, pages of glossy magazines with texts or newspapers;
• oilcloth.

Musical accompaniment: If the teacher wishes, you can do practical work accompanied by calm, instrumental music.

Lesson Plan:

1. Organizing time. Greetings. (1 min.)
2. Checking homework - visually. (2 minutes.)
3. Updating knowledge. State the topic and purpose of the lesson. (2 minutes.)
4. Students' perception of educational material. Learning new material. (10 min.)
5. Practical work. (25 min.)
6. Summing up the lesson. Exhibition of works. The discussion of the results. (3 min.)
7. Reflection on activities in the lesson. (2 minutes.)

DURING THE CLASSES

1. Organizational moment. Greetings

2. Checking homework (visually)

– Let's look at your “Font Collections” prepared for this lesson (students found and cut out letters of different sizes, shapes, styles from old newspapers and magazines, placed them and glued them on A4 format, the compositional solution is free). How do you explain this choice of elements (letters) of the composition?
– Guys, in front of you are glossy magazines and newspapers. What text attracts your attention? Why? (Students assume: large, bright, contrasting, easy to read, etc.)

3. Updating knowledge. Communicating the topic and purpose of the lesson

– We are surrounded by advertising signs and banners everywhere, we read books and magazines. We are attracted to them by their catchy name, distinguished by the size, color and character of the letters. It's all font. The font is the basis for all printed products (advertising, announcements, signs, indexes, booklets, prospectuses, programs, etc.) and is one of the areas of design. And the profession of a designer is one of the professions in demand now.

3. Students’ perception of educational material. Learning new material

Slides 1-2

– The topic of the lesson is “Font composition”. Today we will play with letters. Our task: to get acquainted with the art of type, the expressiveness and imagery of type composition. Today we are designers.

Slides 3-4

– What is a font? This is a graphic drawing of letters and characters that make up a single stylistic and compositional system, a set of symbols of a certain size and design. Font (German) Schrift, from him. schreiben- write).

Slide 5

– What type of font is there? Today, the variety of fonts is constantly updated with new types. We will get acquainted with the main types of font. You see that fonts come with serifs ( serif), sans serif ( grotesque), proportional ( displays characters of different widths), disproportionate, or monospaced, ( displays characters placed on pins of a constant fixed width). Fonts differ in typeface. A group of fonts of different types and sizes, having the same style, uniform style and design, is called a typeface.

Slides 6-7

– How to distinguish fonts?

Main characteristics of fonts:

• style: straight, italic;
• saturation: light, bold, bold (the ratio of the thickness of the stroke to the width of the intraletter space);
• width: normal, narrow, wide, fixed width font;
• size(point) in points (1 point = 1/72 inch);
• contrast;
• distinctiveness;
• readability;
• capacity;

Slides 8-11

– Each font is a specific compositional system that has its own artistic appearance. Let's consider the main characteristics of the font.

Artistic appearance of fonts:

• Decorative.
• Dynamic.
• Elegant. Roman capital, serif, academic fonts. Used for literary and art texts, design of architectural projects, writing texts on memorial plaques.
• Italics. Used for writing texts of certificates of honor, congratulatory addresses, congratulations and invitations.
• Monumental. Chopped poster, slab font and grotesque. Used for writing slogans, posters, banners.
• Free.
• Strict. Used on diagrams, diagrams, graphs, technical and production posters, signs.
• Folklore(Ukrainian, Arabic, etc.).

4. Preparation for artistic activity. Display on the board.

Slides 12-13

– Today we will talk in detail about the monumental (cut) font, its features of style, proportion and artistic characteristics. In this lesson we will look at the concept of “typography” ( Typography is already a creative transformation of printed text into an element of graphic design; it does without the use of illustrative and graphic graphics, but is carried out using modeling and editing of text). Typography turns text into bright and original graphic images.

Slide 14

The sans serif font can be divided into three groups: letters consisting of straight elements (G, E, E, N, P, T, Ts, Sh, Shch - the top line of the slide), letters consisting of straight and oblique elements (A , D, ZH, I, J, K, L, M, U, X - middle line), letters with rounded elements (B, V, Z, O, R, S, U, F, CH, Ъ, ы, L, E, Y, I – bottom line).

One of the methods for accurately constructing a font is the modular grid method (3 horizontally and 5 vertically). The module is a constant and basic unit of measurement for a letter, which makes it possible to maintain the basic proportions of letters and characters. Modular grid 3 by 5 used in a group of letters (B, V, E, Z, I, K, L, N, O, P, R, S, T, U, X, CH, L, E, Z) and for a group of letters that are written slightly larger than others 4 by 5(A, M, C, B) and 5 by 5(L, F, F, W, S), modular grid 2.5 to 5(D), modular grid 6 by 5(SCH).
The teacher demonstrates on the blackboard how to construct letters using a scale grid. Students use drawing tools to build letters on checkered pieces of paper.

Once you learn how to construct sans serif letters, you will be able to modify and improve the fonts you have already mastered, or even come up with your own, original fonts!

5. Practical work of students

Slide 15

Exercise 1: build a font composition “My name” in the center of an A4 sheet using drawing tools on a scale grid of 20x20 mm (height of letters 100 mm).

Slide 16-20

Next, create the font composition “My Name” in color with graphic materials, displaying images of the seasons. View photos of nature. Paying attention to color, characteristic features and condition.

Slide 21-23

Criteria:

Slides 24-25

Task 2: build a font composition "Speaking Word" in the center of A4 sheet with drawing tools (chopped font).

First, a word is selected (a noun, a common noun, including from 4 to 6 letters). It is necessary to depict the chosen word so that all letters are “objectified”: the word must be read through the depicted image in the silhouettes of the letters and around them, each letter must carry the semantic load of the entire word. Then the letters of the chopped font are built on an A4 sheet on a 10x10 mm scale grid, with a gap of 10 or 20 mm between the letters, depending on the number of letters in the word. Then the work is done with graphic materials, which need to convey the texture and image of the image. The image should be bright, colorful, textured.

Slides 26-31

Examples of student work on this topic.

Criteria: originality, image recognition, color scheme, accuracy.

Slide 32

Task 3: creating a font composition from initials (option 1).

Initials are the first letters of the last name, first name, patronymic (3 letters). Work begins with exploratory sketches of the composition (contact of letters at a point, in a line, letter within a letter). Students complete 5 versions of compositions no larger than 20x20 mm in size on A4 format on the left with a simple pencil. The most successful sketch is selected by the teacher, and then developed by the student on the same sheet on the right with a size of at least 100x100 mm in color using graphic materials (option 1) or using the appliqué technique (option 2). The main thing in your work is to achieve a reflection of your style, your interests and character.

Slides 33-35

Examples of student work on this topic.

Criteria: originality, image recognition, color scheme, accuracy.

Slide 36

Task 3: creating a font composition from initials (option 2).

Slides 37-39

Examples of student work on this topic.

Criteria: originality, image recognition, color scheme, accuracy.

Slide 40

Task 4: create a font composition "Drawn letters (free font)" in the center of A4 sheet.

– We draw an object with letters. You need to start working with a contour drawing of an object or animal. Then you need to write letter by letter into this object so that there are as few spaces between them as possible. The letters can be of different heights and widths, configurations, but still made in the same style. Then we remove the outline of the image. Next, we draw the composition with color. Here it is necessary to convey the texture and image of an object or animal as accurately as possible, so that at first glance the whole image is perceived, and then the letters are read.

Slides 41-43

– What animals do you know? What is the difference between birds and animals, insects and fish, etc.? Notice the silhouette of the various animals.

Slides 44-47

Examples of student work on this topic.

Criteria: originality, image recognition, color scheme, accuracy.

Slide 48

Task 5: “Cat and Dog Exhibition” – creating an image of animals using the appliqué technique from letters cut from old newspapers and magazines along the contour. The work is performed in small groups (2 people each). Before completing the task, the teacher talks with the students about the characteristic features of the shape of the head, body, tail, etc. cats and dogs. You can invite students to look at photographs of animals.

Slides 49-52

Examples of student work on this topic.

Criteria: originality, image recognition, color scheme, accuracy.

Slides 53-54

Task 6: “City of letters. Architectural monuments in letters" – creating an image of a world-famous architectural monument using the applique technique of letters cut along the contour from newspapers and magazines. The work is performed in small groups (2 people each) or individually.

Slides 55-69

– Let’s look at architectural monuments from different eras. Pay attention to silhouettes, proportions of buildings, sheet layout, details and architectural structures.

Slides 70-71

– Look at the options for completing the task (the teacher’s work is demonstrated).

Slides 72-83

Examples of student work on this topic.

Criteria: originality, image recognition, color scheme, accuracy.

6. Summing up the lesson

Exhibition of works. The discussion of the results

7. Reflection on activities in the lesson

– What new things have we learned today (building a chain of meaning, comparing the methods and methods of work used by others with our own)? What concepts and terms did you remember (typography, monumental sans and free hand-drawn fonts, modular grid, etc.? What did you learn?

– Tasks 1-3, 6 are offered to 7th grade students (program “Fine Arts. Design and Architecture in Human Life” under the guidance of B.M. Nemensky).
– To complete tasks 4-6, the lesson should begin with an introduction to the various types and characteristics of font (slides 1-11), skip the section on constructing a font (slide 12-35), then the teacher moves on to explaining the tasks and viewing illustrative material with students topic of the task (slides 40-69).
– Illustrations on slides 16-19, 41-43, 48 can be stretched to fill the entire screen.
– Changing slides in the presentation is automatic.

The most important element in a font composition is always the text - its semantic content and grammatical structure, and this is especially evident in headings. The composition of the font inscription, chosen in accordance with its content, reveals the semantic meaning of the phrase and makes it easier to understand. If a designer tries to squeeze text into a pre-conceived scheme, this inevitably leads to both formal errors and inconsistencies between form and content.

The general shape of the inscription, as a rule, is determined when it is divided into lines. Texts of three or more words, when divided into lines, give several options that are equally correct grammatically, but differ in semantic shades and emphasis on a particular word. For example, the title “New Digital Technologies” can be arranged in four ways (Fig. 1).

Rice. 1. Basic Heading Breakdown Options

You will notice that words take on different meanings depending on their location in the line. The first option is quite neutral, in the second option the word “new” attracts attention, in the third the word “technology” stands out. These seemingly subtle nuances can be enhanced by the font design, its size or color (Fig. 2).

Rice. 2. Emphasis on size and saturation

In some cases, the grammatical correctness of the arrangement of words may conflict with their content. An illustrative example is the title of V. Kataev’s book “The Lonely Sail Is White” (Fig. 3). All four options grammatically have the right to exist, but it is the composition of one line that is semantically more correct, since the first line of the famous poem by M.Yu. Lermontov is taken as the title of the story. The same circumstance forces us to use a font of the same size, saturation and color for all words.

Rice. 3. Header Breakdown Options

For large headings, for example the full title “Tales about Grand Duke Dmitry Ivanovich,” an even greater number of text grouping options are possible. The composition of the inscription presented at the top of Fig. 4 is clearly not balanced, there is no emphasis on the main thing in this title. After a little modification, the composition becomes more acceptable (Fig. 4, below).

Rice. 4. Large Header Breakdown Option

Hyphenation of words in title elements destroys the integrity of the composition, so they try to avoid them. But in principle, hyphens can be used in fiction with a multi-line title, as well as in scientific and technical literature in polysemantic and compound words. The use of transfers should always be motivated both in semantic and compositional terms.

Skipping punctuation marks (full stop, comma, parentheses, etc.) has long become a tradition when designing title elements. Typically, such a violation of the rules of syntax is always compensated by some compositional techniques: a red line, a change in the font design, a second color, dividing decorations, etc.

The organic nature of letters in a word is not only an aesthetic requirement. It naturally stems from the peculiarities of reading a text, when a person does not read letters, but takes in a whole word or even several words with his gaze.

In some “amateur” guides to creating a font, of which there are now a great many on the Internet, the organization of rhythm in words is considered very limitedly and often comes down to just aligning the spaces between characters. However, rhythm also depends on the style of the letters themselves, so in the process of creating a harmonious title, you often have to try several typefaces before finding the optimal one.

Optical equality of spaces between letters is the most important condition for easy readability of a font of any design or type. The fact is that not all the space between the letters constitutes the interletter space; part of this space belongs to the image of the letter itself and is included in its optical field, the size of which can only be determined visually. This circumstance does not allow us to reduce the process of aligning spaces to mechanical alignment of free spaces between letters, even in simple fonts, not to mention fonts with complex designs. For this reason, an experienced designer does everything by eye when aligning letter spaces.

The size of each space in a word is influenced not only by the configuration of the letters, but also by the serifs, the size of the strokes, and the nature of the intra-letter space. With a certain arrangement of letters, their optical fields do not merge, but are separated by a minimal gap. This arrangement of characters is typical for typesetting text fonts and ensures the best readability of the text (Fig. 5 A) we will call these spaces between letters in a word “normal”. As a result of correctly setting the size of spaces, such unity of the word is achieved that the connection between all letters will be equivalent. Inaccurate placement of letters leads to disruption of these connections.

Changing the normal spacing to make it smaller or larger can cause a drastic reduction in readability. With a slight approach of letters, the serifs of adjacent letters will join and the optical fields of some characters will merge (Fig. 5 b). With further convergence of the letters, the word will become more and more like an ornamental pattern, the degree of decorativeness of which is determined by the font design itself (Fig. 5 V). At the same time, the readability of the font will deteriorate.

As the letters move away from each other and the spaces between them increase, the reverse process will occur - the connection between the letters will weaken. With a slight increase in normal spaces, the connection between letters will remain close, but the average color saturation of the word will decrease, which will affect the overall composition (Fig. 5 G). With a significant increase in spaces, the word breaks up into individual letters, the connection between which is lost.

To maintain a line line with a large discharge, they resort to additional means: underlining the word with a ruler, using a font with long horizontal serifs, placing a sparse line next to a dense line, with an ornament or design (Fig. 5 d).

When using decorative typefaces, the change in the size of spaces is not too noticeable due to the special compositional structure and different reading rhythm of such fonts.

Rice. 5. Dependence of the rhythmic structure on the size of interletter spaces

A very important role in the rhythmic organization of fonts is played by letter extensions or strokes introduced for decorative purposes. Letters with such elements include neighboring characters in their optical field, which gives the font inscription a special solidity (Fig. 6).

Rice. 6. Dust jacket. Artist S. Telingater

It should be noted that the letters of the alphabet have different dynamics, that is, horizontal orientation. Each word consists of a certain combination of characters with different directions, which affects its visual perception (Fig. 7). By choosing a font style, a designer can change and enhance the dynamics of letters in a word, creating one or another rhythmic effect. By combining the direction of each letter with the general direction of the word, and the movement of the word and line with the general direction, you can obtain a wide variety of rhythmic effects.

Rice. 7. Dynamics of letters in the rhythmic structure of a word

Italic fonts with their compositional fluidity have great potential in terms of dynamics. In fonts with a large angle of inclination, the directionality of each individual letter is removed by a single movement of the word in the direction of the line (Fig. 8).

Rice. 8. General dynamics of the word

In straight fonts, the direction of each individual character is more pronounced, but even in this case, the designer will always be able to find a unifying principle for letters in different directions. You can, for example, give the entire word vertical or horizontal movement by changing the proportions of the letters. Combining lines with different directions is one of the ways to create an interesting and expressive composition.

Some letters of fonts that can be classified as humanistic serifs have an interesting feature - their vertical axes do not coincide with the direction of the main strokes in characters with ovals and semi-ovals (“P”, “O”, “Z”, etc.). Typically, such tilts of the vertical axes have little effect on the rhythm in a word, but increasing them can be used as a means of changing the rhythm. Fonts in which letters differ sharply in width also form a peculiar rhythm.

Mastering rhythm makes it possible to influence the reading process, make it slow or fast, smooth or jerky. Rhythm not only organizes the reading process, but also gives the word a characteristic appearance that remains in visual memory for a long time.

The position of the lines in the inscription also affects the perception of the text. Some inscriptions easily acquire a compact and completely complete form, while others look like a mechanical connection of lines that are not interconnected by compositional unity. The designer’s job is precisely to overcome the graphic fragmentation of lines, to emphasize, if necessary, the semantic meaning of some important words, achieving a clear expression of thought. In this case, it is impossible to mechanically apply any rules, but should be based on the specific semantic content and composition of the words in the inscription. The schematic representation of strings in the form of rectangles, which will be discussed below, is created based on real, not imaginary strings.

Strengthening the semantic meaning of words by changing the rhythm of letters and font size is carried out in such a way that the importance of the words in the inscription is immediately visible and interpreted unambiguously (Fig. 9).

Rice. 9. Semantic emphasis by font size

An even sharper division of words by semantic significance is obtained when two or three fonts are used in one inscription. This technique is often used when designing covers. If purely font means do not allow you to make the inscription on the cover expressive, you can resort to other means: drawing, ornament, color, blind embossing, etc.

The distances between words in a line should be such that each word is clearly separated from the others and so that the line does not fall apart into separate parts, thereby losing its integrity. The absolute value of the distance between lines can vary greatly from a continuous outline of the lines to a distance exceeding the height of the lines several times. The rhythmic alternation of lines and line spacing must always be consistent with the content of the inscription.

The fused or very close arrangement of lines to each other often turns the inscription into a kind of ornamental pattern made up of letters. The readability of such inscriptions is ensured by contrast in line lengths, in which the beginning of each line is clearly distinguished (Fig. 10), or by a relatively large font size (Fig. 11).

Rice. 10. Contrast in the length of lines when they are arranged together

Rice. 11. Large font size with continuous lines

If you place the lines of the same inscription at a great distance from each other, they will be read in a slow rhythm. Such compositions are typical for the title set of the 18th and early 19th centuries and correspond to the texts of the ancient titles themselves.

Normal distances between lines can be considered those when, with a clear separation of one line from another, the unity of the inscription as a whole is preserved. In this case, the visual heaviness of the line is completely balanced by the fields surrounding it. Optimal ratios between spacing and line height range from 3:5 to 1:1, and their exact sizes depend on the font design and line length. The superscript and subscript elements of letters have a great influence on the amount of line spacing in the inscription. If words are strongly discharged in two adjacent lines, the distance between them should also increase; otherwise, individual letters will combine into vertical rows, in which the horizontal line of the line will collapse.

Combining fonts of different designs and sharply contrasting sizes into one inscription requires a particularly precise rhythmic structure of the inscription, in which the distances between the lines may differ slightly. The intervals in such inscriptions are determined, as a rule, by eye.

Sometimes in font compositions, conjunctions, prepositions and short words are placed on a separate line, as a result of which it is possible to significantly enhance the semantic meaning of the title, for example, when contrasting antonym words. This technique is resorted to in search of a clear and beautiful form of the inscription, to reduce the size of a line that is too long, in case of strengthening the vertical orientation of the entire composition, etc. However, separating conjunctions and prepositions into a separate line leads to the fact that they begin to interfere with the semantic selection of the main words. Therefore, it is recommended to make them slightly smaller in height than the rows adjacent to them. Reducing the height of short lines and the intervals around them is also necessary in order to bring the main lines closer together in order to avoid the optical break of the inscription into several parts (Fig. 12).

Rice. 12. Reducing the line with a preposition and line spacing at the bottom and top

The choice of method for grouping lines into an inscription is made based on the overall compositional design. Of the two fundamentally different systems for arranging inscriptions - symmetrical and asymmetrical - the first is most widespread, since it gives the inscription a calm, balanced form.

A type of symmetrical composition are inscriptions, the outer outline of which has the form of a rectangle, triangle, circle or other geometric shapes. In such inscriptions we see first of all their external outline and only then comprehend the content. Geometric constructions of lines can be useful when a composition is overloaded with text and visual material, when several elements are combined into one complex pattern.

The symmetrical balance of the inscription can be disrupted by large gaps between words, as well as letter elements extending beyond the lines of the font. To avoid this, the distances between words are reduced to a minimum, and the styles of lowercase and italic letters are chosen so that the callouts are distributed evenly throughout the inscription.

The initial that begins the text also breaks the symmetry of the inscription. And if a small initial is partially balanced by the semantic load that it carries (emphasis on the beginning of the text), then a large initial letter shifts the center of gravity of the lines so much that the entire inscription can be classified as asymmetrical.

Asymmetrical inscriptions themselves do not have the completeness of form that symmetrical texts have, and they receive their compositional completeness through connection with other pictorial elements. Asymmetrical inscriptions with flag and stepped line compositions have the clearest construction principle. Lines that differ little in the number of characters and in rhythm lend themselves especially well to this arrangement.

Font compositions are often used together with graphic elements, such as ornaments. In order to combine all these elements into one whole, it is necessary to understand the general principles of constructing visual and font compositions. We will talk about this in the following articles.

Types of font composition. Characteristics of compositions.

Font composition can be of different types:

1. Symmetrical;

2. Block;

3. Flag.

1. Symmetrical composition - the vertical axis of symmetry passes through the middle of the inscription and divides it into two equal parts - left and right. For small text, it is better to use the “golden ratio”, when the text is divided into two halves, of which the upper one is related to the lower one as 5:8. If the text is large in volume, then the main line rises relatively high. This design allows you to free up the bottom of the poster for the remaining text.

2. Block composition - all lines of text fit into a rectangle. In this case, the interletter clearance is increased; letters in short words are written with space to the width of the font strip. However, increasing the distance between letters too much can lead to disruption of the rhythmic structure of the font inscription. Block composition finds application in a type poster. It is useful when the lines have approximately the same number of letters. If the lines are very different in length and contain conjunctions and prepositions that make it difficult to balance the line, then it is not possible to achieve good results in block composition.

The block composition can be symmetrical (if there is one block) and asymmetrical (if there are several blocks).

3. F lagcomposition - the text is shifted to the side: either to the left or to the right of the vertical axis. The marking of letters and lines begins from this vertical line. The flag scheme allows you to place all lines on the same line from the edge of the sheet. This composition is dynamic (asymmetrical) in nature. Sometimes a flag text composition is used, arranged in such a way that it is not dynamic, but static in nature.

Photo parameters for printing.

Color model SMYK used in publications intended for print.

The main color components of this model:

Cyan- blue, Magenta - purple, Yellow - yellow, Key color - the key color, which is usually used as black.

A color model is a way of describing color.

Permission no less than 300 dpi. If the quality is poor, the photo may be larger (400 dpi, 600 dpi), but this makes the file heavier.

Size 100% (can be increased, but no more than 15% without loss of quality).

Formats raster photo images ( TIFF, EPS, Jpg ).

1. What is sgraffito? Features of technology.

Sgraffito (from Italian sgraffito or graffito - scratched).

Preparatory work for the sgraffito technique. Plastering the wall, applying spray and primer. Features of plastering various walls (brick (lime mortars), concrete (lime-cement mortars), different methods of leveling and maintaining the moisture content of the applied mortar). 1

Application of decorative compositions. The thickness of the bottom layer is 7-8 cm, the next one is smaller in size 6 cm, then 5 cm, etc. The last color layer is 2 cm. White is simply whitened with water-based paint, size approximately 2 mm. Grind and level surfaces. The sequence and features of applying layers (from the darkest layer to pure white, drying each layer until it sets easily). It is possible to use templates.

Decorative compositions. Cement mortar, fillers (fine chips, quartz sand, crushed red brick powder, stone powder, etc.). Sand grain size - from 0.1 to 0.5 mm. For the top layers even less. To give color to the layers, pigments are added to the solution.

Finishing of color drawings. Scratching layers. Applying decor. Tools used (chisels, stacks, scrapers, spoons, teeth, mowers). Sharpen the tools as they become dull.

What is a font? Types of writing.

Word "font" - of German origin and translated means - writing, lettering.

Font is an alphabet in which the image of letters, numbers and other written characters has a general pattern of construction and a single style. In other words, a font is a graphic form of a particular writing system. It is impossible to imagine modern design art without the use of type. The more diverse its use, the more attention must be paid to its quality, which is impossible without a serious study of its structure.

The history of the emergence of writing goes back to ancient times.

From the history of world writing, four types of writing are known:

1) pictographic – in the form of rock paintings among primitive people;

2) ideographic - writing using ideograms rather than letters. One written sign (sun, moon, bird) denoted an entire concept, a word. It was common in Egypt and China.

3) syllabic - a letter in which syllables were indicated by signs. The ancient Egyptians wrote in syllabics on papyrus. It was very bulky. Types of this writing existed for many centuries among the peoples of the Ancient East and in the countries of East Asia - Japan, China, Korea.

4) letter-sound – appeared in the second millennium BC. In it, the signs meant individual sounds (phonemes).

A business card as an attribute of a company’s corporate identity. Types of business cards. Business card attributes. Business card size.

One of the main elements of a business card is the logo.

Types of business cards

1. Personal;

2. Business;

Corporate.

Business card includes:

1. Owner's name;

2. Company (usually with a logo);

3. Contact information (address, telephone number and/or email address, website address).

Business card size:

The size of the business card is standard, determined by the size of the business card holder.

Х85(90) mm

To the size 50x90 mm additional mm are added for trimming (5 mm each from the sides and top). Divide in half and get 2.5 mm on each side (top, bottom, left and right).

Font size for business cards:

no less 6-8 points depending on the font.

1. Materials and tools used for mosaic wall decoration . Mosaic base.

Materials for mosaics: Stone (ornamental stone, granite, marble, slate, pebbles). Glass (smalt, colored glass mosaic, round colored glass, stained glass, transparent glass). Ceramics (ceramic tiles, fragments of ceramic ware, terracotta). 1

Preparing materials for mosaics. Cutting smalt with a special guillotine. Cutting ceramic tiles (glass cutter, manual tile cutter, tile cutter). Cutting glass with a glass cutter.

Adhesives and compositions for gluing mosaics. Temporary adhesives (paste, wallpaper glue) for the reverse method of setting. Permanent adhesives: There are three main types (acrylic mixtures, cement-based mixtures, epoxy resin). These adhesives serve different purposes.

Content: Mosaic Tools (glass cutter, tile cutter, manual tile cutter, working pliers, wire cutters, hammer and handbrake, mosaic tongs, glass pliers, square, metal ruler, smoothers, graters). How to use them. Additional tools (paper, tracing paper, pencils, markers, gouache paints, various containers).

Mosaic base(concrete or brick wall, plywood, chipboard, flat slate).

Safety precautions when making mosaics. Use special glasses to avoid getting shrapnel in your eyes. Use of protective gloves. Use of protective clothing. Use of protective materials to cover the work area.

1. Leaflet;

2 Poster;

3. Calendar;

4. Booklet;

Multi-page editions:

1. Catalog - a bound or bound printed publication containing a systematic list of a large number of goods, usually illustrated with photographs of the goods;

2. Avenue - a bound or bound printed publication informing about a specific product or group of products or, in general, about a company;

3. Book;

4. Directory;

Periodicals:

1. Newspaper;

2. Magazine;

3. Corporate edition .

Each edge of the leaflet must have margins necessary for cutting the circulation, since during this process the knife may deviate in each direction by 2.5 mm.

The most important elements of the layout, such as logo, phone numbers, addresses, etc., must be at least 5 mm away from the cutting line.

An element adjacent directly to the cut line, which is called “printing on the fly”, requires an extension of this element beyond the cut line by 3 mm. The text is converted to curves.

Colorfulness of leaflets:

4+0(full printing on 1st side)

4+4 (full printing on 2 sides)

1+0(printed in black on 1st side)

1+1 (printed in black on 2 sides) and any other at your request

Paper for printing leaflets:

Coated medium densities 125-170 g/sq.m

Thin coated 90-115 g/sq.m

Dense coating 200-300 g/sq.m

Offset 80 g/sq.m and any other types of papers upon request

Additional processing of leaflets:

solid VDUF and offset varnish; selective UV varnish; lamination; foil stamping; cutting down

Cutting paper and cardboard

Tools:

scissors, knife-cutter, cutting board, metal rulers of different sizes, graphite pencil.

Cutting paper and cardboard in straight lines with a knife-cutter:

applying cutting marks with a graphite pencil;

placing the paper face down on the cutting board;

It is possible to press the ruler downwards with your left hand more strongly so that it cannot move from its place during work;

The knife handle should be held on top with four fingers. The fifth, index finger should lie on the butt of the blade to press on the knife during operation;

During operation, the blade of the knife should fit snugly against the working edge of the ruler, i.e., move in a plane perpendicular to the plane of the scoring board. When cutting paper, the axis of the knife should be inclined to the cutting line and make an angle of 35-45° with it.

Cutting paper and cardboard along curved contours with scissors:

applying cutting marks with a graphite pencil, using templates and patterns (if necessary);

cutting in a small area;

the ends of the scissors are spread wide;

the part to be cut is located to the left of the scissors, and the cutting line runs along the right side of the marking line drawn with a pencil;

Sheets of paper should be fastened along the edges with paper clips or pins so that they do not move.

Folding paper when cutting with scissors:

in the mass production of small-sized parts with complex curved outlines from paper, the paper is folded, depending on its density, into four, eight or more layers, cutting is done according to pencil markings applied on the top sheet;

if the part has an axis of symmetry, then fold the paper in half, draw half of the part on it so that about Gluing the paper.

Rules for gluing paper:

You should always apply glue to the part of the product that is being glued, and not the part that is being glued to;

grease with glue and hold for a while so that the paper gets wet and swells;

when gluing two parts made of paper or cardboard, apply glue to thinner material;

when joining sheets of paper of the same quality “overlapping”, lubricate both edges with glue;

when spreading glue on paper, it must be placed on a sheet of unnecessary paper;

Hold the sheet or part to be spread with the ends of the fingers of your left hand so that they do not move from their place.

Method of smearing narrow strips “from the board” with glue. The symmetry coincides with the fold line, cut and straighten.

Gluing parts:

After placing the part coated with glue in the place of gluing, cover it with a clean sheet of paper and rub the entire surface of the part with a soft, clean cloth or the edge of your palm from the middle to the edges in the direction of the fibers, put it under a press until gluing is completed.

The design of the corporate booklet, text, illustrations in a concise and accessible form should present the contents of the publication to the reader.

Elements of corporate design of the booklet: logo; style; font.

Stages of creating a booklet: development of layout design; processing of illustrations; layout; preparation for printing.

Additional finishing operations when printing a booklet:

UV varnishing; felling; foil stamping; blind; convection; printing with pantone inks.

The style of developing a booklet design can be made both in a classic design and in an original one using various printing materials.

Booklets are printed on coated or offset paper from a sheet of A4 (297x210 mm) or A3 (420x297 mm) format, with 1, 2 or more folds.

Full color printing on both sides (4+4). The paper thickness for printing a booklet can be selected from 115 to 300 g/m. For booklets intended for special occasions, thick paper or cardboard is used using cutting and die-cutting.

Booklet printing methods:

offset;

Digital.

When producing booklets using the offset method, the best printing quality is ensured. The circulation can be different (from 100 pieces, offset from 200 pieces).

Leaflet- A4 sheet with two folds.

The concept of ornament.

Ornament(Latin ornemantum - decoration) - a pattern based on repetition and alternation of its constituent elements. Intended for decorating various objects (utensils, tools and weapons, textiles, furniture, books, etc.), architectural structures, works of applied art.

Associated with the surface on which it decorates, the ornament reveals or accentuates the architectonics of the object on which it is applied.

The ornament consists of a background and a motif.

Background- the surface of the material on which the ornament is made.

Motive- a repeatedly repeating pattern.

Dependence of the nature of the ornament on the material and technique of execution.

Planar ornament - decoration on a flat or curved surface, made using various lines, including color.

Relief or convex ornament - decorations made on wood, bone, stone, metal using special processing. The depth of the relief depends on the size of the area being designed, the saturation of the pattern and lighting.

Ornaments are divided according to patterns of construction:

ribbon (friezes, borders, borders, etc.);

closed (inscribed in the shape of a circle, square, rectangle, triangle);

mesh (filling the surface with a continuous pattern).

Types of ornaments:

Geometric (consisting of geometric shapes);

Floral (consisting of stylized plants);

Zoomorphic (consisting of stylized animals);

Anthropomorphic (consisting of male and female stylized figures or individual parts of the human body).

Methods for constructing an ornament:

turn in the other direction;

movement along the vertical axis;

movement along the horizontal axis;

mirror symmetry;

construction using a grid (square shape, triangular shape, diamond shape, rectangular shape).

Outdoor advertising- advertising that is placed on special temporary and/or permanent structures located in open areas, as well as on the external surfaces of buildings, structures, on elements of street equipment, above the carriageway of streets and roads or on them themselves, as well as at gas stations.

Designed for drivers, vehicle passengers, and pedestrians. Has a reminiscent character.

illuminated signs;

information boards (billboards, firewalls, city formats, trivizhens, pillars (arched and rectangular);

electrified (or gas-lit) panel with stationary or running inscriptions (“traveling wave”);

spatial structures for placing posters in several planes;

inscriptions in the sky (balloons, airships);

Ticket No. 11

Water-soluble paints.

Water-soluble paints- paints that are highly soluble in water.

Water-soluble paints include: watercolor , gouache , tempera , water-based , acrylic .

Watercolor- water-based adhesive paint.

Composition of watercolor paints:

Binders (gum, dextrin, glycerin, honey, sugar).

They are produced dry in tiles, semi-raw in cuvettes, jars and semi-liquid in tubes.

The surface for working with watercolors is paper (dry and wet).

The main qualities are transparency, color purity, richness of tonal solutions.

Combines with white, gouache, pastel, tempera, ink, bronze and other materials.

Gouache- water-based adhesive paint.

Composition of gouache paints:

Binders (gum arabic, dextrin, fruit gum);

Filler: colored pigments, zinc white;

Emollients and preservatives (glycerin oil);

Surfactant (animal bile);

Antiseptic (phenol);

Plasticizer (glycerin).

Surface to work with: paper, cardboard, fiberboard, fabric, pre-glued.

The paint is opaque, dense, dries and becomes lighter and acquires a matte velvety surface.

Tempera- adhesive paint.

Composition of tempera paints:

Binder (casein or egg emulsion).

Diluted with water and oil, it does not dissolve later.

Surface to work on:

cardboard, canvas with white primer or paper with pre-sizing, other primed surfaces (wood, concrete, etc.).

Tempera strokes have a matte, dense, velvety, soft surface.

Acrylic is a synthetic paint based on acrylic acid.

Composition of tempera paints:

Binder (acrylic polymer emulsion (consists of polyacrylics and polymethacrylics).

Filler (color pigments).

Stabilizers (coalescent substances).

Application of acrylic paints:

can be used for almost any job.

Surface for working with acrylic:

can be used to work on different surfaces (paper, cardboard, canvas, wood, metal, fabric, porcelain, glass), but you must be guided by the type of surface to be painted, and use a special paint suitable for these surfaces.

When painting and painting walls, consider the location of the room (indoor, outdoor). Diluted with water, it does not dissolve later. Dries very quickly.

When dry, it gives a durable layer that resembles plastic or rubber. The tone darkens a little. Disadvantages include roughness and low (lower than gouache and oil) coverage. It is difficult to paint details with acrylic.

Water-based paint.

It is diluted with water and does not mix with other types of paints and solvents. Drying time at 20C is 24 hours.

Designed for painting and priming fiberboard, chipboard, panels, plasterboard, and other dry plastered surfaces.

Design and printing of calendars.

The design of the calendar depends on its type. They differ in shape, format (A4, A3, A5, etc.), number of sheets, creasing (2, 3, 4 creasing, etc.), type and density of paper.

Post-printing of calendars:

embossing, figured cutting. The quarterly calendar header or pocket calendar can be laminated with a glossy or matte laminate.

Ticket No. 14

Preparation of sketches for design work.

Definition of the concept sketch.

Sketch(from French - “esqusse”) - a preliminary sketch that captures the artist’s plan. Sketch is the main auxiliary tool.

Visualization of ideas(transferring the idea to paper). Rough sketches.

Brainstorm- quickly write down all your thoughts on paper. Possible scale of sketches is 1:3 or 1:2.

Collecting material for a sketch, researching the material - can be used in any work: illustration style for a series of books, exhibition stand plan, corporate logos, photograph style for an advertising company.

Collection of material- collect various objects associated with the project (colors, characteristic letter shapes, textures or proportions - any types of graphics from books, magazines and newspapers, photos of similar projects). Objects can be mounted on a plug panel or glued to an A1 sheet of cardboard to see them together for comparison and association.

Sketches are: graphic; picturesque.

Types of sketches:

fore-sketch;

creative sketch;

Working sketch (cardboard).

Airbrush.

What does the airbrush consist of: body, paint tray, air/paint pedal, nozzle, nozzle protection, needle, needle pressure/stroke regulators, air supply point. The working principle of an airbrush. Types of airbrushes: single action - external and internal mixing, external mixing without a needle, external mixing with a fixed needle and a movable nozzle; double-acting - with interdependent flow control, independent double-acting. Operating the airbrush (assembling/disassembling the airbrush, storing the airbrush, precautions, cleaning, maintenance). Possible errors in the operation of the instrument, methods for adjusting and eliminating errors.

Paints:

Automotive (metallic, xyrallic, fluorescent, chameleon).

Information about the ancient inhabitants has reached us in the form of drawings on walls, stones, bones and wood. Even then, writing consisted of specific images - pictograms. In order to speed up writing, these images were simplified and gradually turned into abstract signs - hieroglyphs corresponding to individual words, then syllables and, finally, individual sounds

There were alphabets made only of consonants or vowels. The text began to be divided into words and sentences, and numbers appeared. Inscriptions carved on monuments, book fonts, household and handwritten fonts appeared. They were all in capitals only. They wrote from top to bottom, from right to left, in a zigzag, and also from left to right.

Cuneiform, which supposedly originated with the Sumerians, served the Babylonians. The Persians, Assyrians and Hittites adopted this script, but retained their own language. We have reached us with inscriptions on stone, seals carved from stone, impressions of large seals on building bricks, and many clay tablets with cuneiform texts.

Hieroglyphs - ancient pictorial signs of Egyptian writing - numbered up to 500 characters, corresponding to syllables and individual sounds. Hieroglyphs were carved into stone, depicted on walls and various objects, or on papyrus. Since hieroglyphs were written with reed sticks or tubular pens and ink, they gradually evolved into cursive. Lines were written from top to bottom, from right to left and vice versa. The hieratic font was formed on the basis of hieroglyphs. As a result of the quick writing, the images were greatly simplified and modified. Demotic font is the next stage of generalization. The original hieroglyphic signs have completely changed. Nowadays we can decipher and read almost all types of Egyptian writing.

The runic font is closest to the alphabetic one; it became widespread in northern Europe. The most famous are the Scandinavian runes, although Rus' also had its own runic alphabet.

The Phoenician script consists of 22 characters corresponding to consonants. Vowel sounds were pronounced but not written. The writing direction is from right to left. The origin of this type of writing is not clear. The signs of the Phoenician script were entirely adopted by the Greeks. The Greek alphabet, like the Phoenician alphabet, consists of capital letters. The signs denoting Phoenician consonants, alien to Greek phonetics, were used by the Greeks to denote vowel sounds. In the 5th century BC. a predatory font arose - the most perfect system of signs with geometric elements.

The Latin alphabet is based on the Greek with the addition of signs for sounds that were absent in the Greek language. The completeness of the form of the signs is demonstrated by the inscription carved on the stone in a straight capital font - capital serif characters, as well as impressions from seals - the grotesque form of the signs (sans serif). The signs were in capital letters only. There were no spaces between words yet, but they were already writing from left to right. Since that time, the Latin script has spread throughout the world. The further development of the serif is a change in its form in the spirit of the times.

According to the official version, the Cyrillic font was created by pioneer printers Cyril and Methodius specifically for the Slavic group of languages. It has the heritage of both the Greek and Latin alphabet. The most interesting fonts now from a historical and decorative point of view are “Ustav” and “Poluustav”, which are perceived by ordinary people as Church Slavonic.

Straight capital font is a book font written with a pen held horizontally. The "Rustic" ("peasant") font was written with a pen in an inclined position. The letters were written faster, more closely, and therefore the font was distinguished by thin vertical straight strokes and bold serifs - serifs (capital font).

Fraktur was a court script from the time of Emperor Maximilian. This font is characterized by trunk-shaped curls of capital letter elements and spiral strokes in the spirit of handwritten fonts.

Decorated and ornamented fonts served as title and highlight fonts. In the 19th century, many new typefaces were developed. New designs developed from historical typefaces after 1800 were characterized by a cold and soulless style. Art Nouveau and experimental fonts clearly reflected the style of the time with their characteristic styles.

The best fonts of our time are created by outstanding type artists. Their noble forms arose as a result of studying the beauty and practicality of all previous fonts. Only a few can create a font. Typography requires a lot of practical knowledge. Typographic fonts are often named after their creators, but sometimes they are given sonorous proper names.

Among the variety of fonts, three main groups can be distinguished - serif fonts, sans serif fonts and decorative fonts.

Various studies have shown that serif fonts are easier to read because serifs help the eye move from letter to letter without the letters blurring together. Research has shown that the most readable fonts are vintage serif fonts with moderate settings, many of which were originally developed in the 15th and 16th centuries. Many of these fonts have been proven to have time-tested letterforms that guide the reader through the text effortlessly, word by word, because they are carefully designed.

Sans serif letters are easier to read in very large or very small font sizes. But it is very difficult to establish uniform rules, since in addition to the style, the font size, line length, leading, free space and even paper are of great importance.

Serifs are the transverse elements at the ends of the strokes of a letter. Serif fonts are also called antique fonts, from the name of the main font “Antique” (antique), developed during the Renaissance based on the Latin alphabet.

Sans serif fonts lack trailing elements at the ends of strokes. The name sans-serif comes from the French sans - without. They appeared at the end of the 19th century. Europeans gave them the name grotesque (from the French: whimsical, funny), and the Americans called these fonts gothic, emphasizing the roughness and simplicity of the first designs. At the beginning of the 20th century, the design of sans-serif fonts emphasized the structural design of characters and the alphabet, without any hint of the influence of handwritten techniques of form-building.

It became clear that, as a geometric design, grotesques better emphasize the purity of the design of signs and the harmony of their proportions. Most of these fonts began to be designed with a pre-developed development program.

The main design of the alphabet was transformed in two ways: a change in the thickness of the fonts and the width of the characters. Most grotesques can be used for typing texts and displaying any subject. The fonts of the grotesque group are not high contrast, almost all of them have insignificant or optimal contrast. With optimal contrast, vertical and horizontal elements of signs are perceived as elements of the same thickness. In general, grotesques are divided into two groups - grotesques of different widths (the alphabet signs are built on the proportional basis of the Renaissance serif) and grotesques of a single width (based on the serif of classicism).

This category consists of numerous fonts, the descriptions of which do not fit into the descriptions of ordinary groups. Most often they are used to emphasize novelty, brightness, and individuality. But you should not use them as the main text anywhere. Not only are they unreadable, but also the effect of highlighting the text disappears. Headings, highlights - this is where these fonts come into place. Decorative fonts also include the so-called “handwritten” or calligraphic fonts.

A typeface refers to variations of the same font family, characterized by different weights, proportions, slant and style.

Some typefaces have more styles than others. Thanks to this, you can build the entire document on one typeface, using different styles where necessary. An example is the Helios font, which has 33 typefaces.

There are several ways to write the same font. A reader familiar with office word processing programs, such as Microsoft Word, probably remembers the "F" and "K" buttons on the Formatting toolbar - they allow you to make the selected text bold and italic. Sometimes such styles in the Western style are called “bold” and “italik”, which is incorrect for our country, given its rich typographic past and present. If there are Russian professional analogues of jargon, then you need to use them. The use of different styles seems to complement the text with a certain intonation that complements the punctuation marks.

Bold or semi-bold text attracts attention and is typically used in headlines. Italics should be used in cases where you do not want to disrupt the optical uniformity of the strip. If only one word in a sentence is highlighted in bold or semi-bold, then the reader will see it before reaching the highlighted place. But sometimes this deprives the text of some “surprise” and in this case it is better to use italics. So, it turns out that in typesetting it is better to use italics and make headings bold.

Large chunks of text should not be typed in italics as this will tire the eyes. In some cases, using boldface can make words stand out in bold italic, but bold italic itself is very rarely used and is a bit annoying. Again, if you need to emphasize one word or more words in a phrase written in italics, you can use a non-italic style.

Bold and bold fonts are more suitable for advertising products. This is especially convenient to use in the texts of newspaper and magazine advertisements, on advertising posters with large text content.

Saturation is the visually perceived color of a font, depending on the thickness of its strokes. A continuous series of styles consists of: light (light), normal (regular, book), semi-bold (demi), bold (bold), dark (heavy), black (black) and extra bold (extra bold).

Depending on the proportions of the characters, the font can be narrow (condensed), normal (normal) and wide (extended). Usually the kit comes with fonts with a normal style, but most programs allow you to change the height-width ratio of the font and get the desired effect.

Since the beginning of the 20th century, physiologists, in particular M.A. Tinker, have conducted extensive research into the legibility and readability of printed text. Tinker's classic "Print Legibility" is one of the seminal works that provided designers and typographers with much of the first scientific data to address important issues related to the parameters of type that can reduce or increase its legibility and readability.

Tinker's research looked at human factors that influence word recognition, information retention, reading speed, and single letter recognition. The overall results of these studies showed that for large amounts of text, the greatest ease of reading, unattainable for a sans-serif font, is provided by a serif font. A sans-serif font provides direct and immediate recognition of words, which are key to understanding their meanings. In other words, the collection of slashes of most sans-serif fonts evokes immediate understanding of the text on the part of the reader.

The results of Tinker's research paved the way for the creation of modern typographic standards and continue to have a strong influence on the use of type in digital technologies. Tinker wanted designers to become more concerned with typographic styles rather than the human factors that contribute to legibility and readability. His research produced data that helped demonstrate the importance of measuring the visual properties of fonts.

The font size, or size, of a font is determined by its height, measured in typographic points (point or pt):

12 points = 1 pica, 6 picas = 1 inch.

There are font sizes that are most comfortable for reading. Most designers agree that a font size of nine to twelve points should be used for reading, with 10-11 point being considered optimal. These sizes may vary depending on the typeface chosen and the presence or absence of serifs. The choice of font style, size, and parameters should be determined to strike a balance between visual theory and font aesthetics.

Leading is the distance between the baselines of adjacent lines. It is measured in points and consists of the font size and the distance between lines. For example, a font size of 10 points with a line spacing of 2 points is called a font size of 10 points with leading of 12 points.

Justification is a parameter showing the placement of text in a paragraph. Alignment can be: left edge, right edge, center, format and full justification. Depending on the chosen type of justification, the text is placed differently; the text of this chapter is typed with a justified format.

Each font has an individual “look” that makes it more or less suitable for a given publication. Confident, elegant, bohemian, original, romantic, friendly - the font can have a very different “look”. The possibilities are almost endless, you just need to decide what impression you want to make and choose the right font for it.

The variety of fonts can be intimidating. But don’t be afraid, take a closer look at what fonts your colleagues use, create a font catalog of the fonts at your disposal, select 2-7 fonts that appeal to you the most, and use them. Gradually add new styles to your typeface and diversify your style. As correctly noted, for every designer there are two types of fonts - those with which he knows how to work, and those with which he does not yet know how to work.

For a designer, text is not only a set of letters containing certain information, but also a decorative element. Firstly, text can be used in layout as a text block, i.e. approximately in the same form as it would have been in the book. A text block is typically used when creating printed materials containing a large amount of text. A text block can have many shapes - from a simple rectangle to a circle - and can even fill a custom shape.

Secondly, these are individual inscriptions in the form of individual words or sentences. They can also have different shapes - from a simple straight line to a broken line, a spiral.

Thirdly, even one word or letter may have an unusual shape. A word may be similar in form to what it means. For example, this is how you can write the word “tea”: in the form of a cup on a saucer, where the line above the letter Y has turned into a curl of steam, the letters “Ch”, “A” and “I” make up the shape itself cups.

Text compositions of this kind can be used to create logos or advertising headlines.

Thus, with the abundance of offers that are on the market today, a person often focuses on a certain image, the emotions that it evokes. A person largely determines and distinguishes one or another object from the set due to the fact that it is attractive.

In order to learn to accurately reproduce what you see and be able to further use the image, you must first gain an understanding of the properties of lines, the shape of surfaces, the shape of bodies, the degree of their illumination and color changes.

The task of a professional designer is, based on computer knowledge and artistic skills, to use visual means of advertising to create a positive image of a product or service.