Font modeling refers to the design link about the appearance of the font, the proportion structure and the composition of the stroke, this link is the basic link of the entire font design process, the purpose is to design the flat appearance of the font and the initial character attribution of the font, is the basis of the performance of the font, its importance is self-evident.
Depiction is not a literal simple meaning, but as a very important font modeling technique in font design, the definition exists, mainly refers to the proportion of font, proportion structure, stroke, distance, spacing, line spacing for rigorous and accurate modeling design, to ensure that the visual effect of the font to achieve precision and harmony, to ensure the actual effect of font application
In the portrayal of the technique, the length and width ratio of the font is the foundation, but also the premise of determining the appearance of the basic form of the font, on this basis, the structure and stroke become two parts of the lips and teeth, mutual restrictions, the loose and tight structure restricts the thickness and thinness of the stroke, and the straightness and curve of the stroke are the rigidity and softness of the structure. At the same time, it is necessary to take into account the difference between different characters with more and less strokes, complex and simple structure, and accurately adjust the font from the details.
Deformation refers to the styling technique of reshaping or changing the appearance and form of a font. As we all know, the basic appearance form of Chinese character fonts is square or rectangular, and the appearance and form of the font largely determine the personality and emotions and performance style of the font, and its shape changes are mainly divided into:
The overall morphological change of the font. It mainly refers to the shaping or change of font or font combination into any straight, curved irregular or mixed and matched multiple forms other than non-basic forms, and on this basis, it combines different ways of expression to create a unique font image and personality emotions.
Local morphological variations of the font. It mainly refers to the shape of stroke endpoints, corners and decorative lines. Among them, the end of the stroke can be straight or curved, pointed or rounded, upturned or downward and other multi-form forms, and the corners of the stroke can be sharp corners, rounded corners, flat corners, depressions, prominences and other corner forms to match different font stroke forms.
The design of the decorative line can be designed according to the appearance and form of the font, such as long or short, thick or thin, straight or curved, simple or complex, soft or rigid, etc.
Abbreviated refers to the conscious simplification or omission of the strokes of the font when designing the font, so that the structure of the font is more simple and compact, the layout of the strokes is more reasonable, and finally the individual can better adapt to the whole. At the same time, the simplified font has a more modern design, and its simple structure and stylish appearance can better adapt to the needs of various forms of expression.
Connection is a common modeling technique in font design, which is mainly used in the design of combined text. The connection can strengthen the integrity and fluency of the combined text, make the combined text more design personality and artistic expression, and strengthen the implementation and understanding of the semantic meaning of the text.
Out-of-word connections. Connecting adjacent fonts between combined text, the outside connection needs to be skillfully selected according to the shape of the stroke and the structure of the font, and it is not necessary to connect when the stroke is seen, and the design of the connecting line needs to be completely subordinate to the style form of the font.
In-word connections. The connection design of the strokes inside the font is to form a new stroke shape by connecting the adjacent strokes of the font to change the shape of the font to a certain extent and give the font more design personality.
Consciously combine two or more different styles of glyphs together, or place different types of strokes in a single font. To make good use of the recombinant modeling technique, the key is to deal with the contrast and tonal change and unity between font forms. In the process of reorganization, the characteristics of the font strokes should be carefully analyzed, especially when using different types of text for reorganization, necessary changes and sacrifices should be made to ensure the integrity and uniqueness of the font.
Graphic interaction refers to the font design Chinese font graphic modeling technique, which can form a clever interactive relationship between font and graphic, so that the shape of the font is more vivid and the meaning is more clear.
On the basis of fully understanding the meaning of words, designing graphic symbols related to text content and replacing them with one stroke or part of the font in the existing font, or cleverly combining them with the font, is the most simple and easy to learn method of graphic and text interaction.
The complete graphical design of the font means that the font is all expressed with graphics, which requires considering the unity of the style form between the graphics and the suitability between the graphics and the fonts, such as modern style graphics, graffiti style graphics, cartoon style graphics, traditional style graphics, aesthetic style graphics, light realistic style graphics, etc., and need to shape the design relationship between the font and the graphics.
Magic brush raw flower refers to the targeted selection of a single font or a representative stroke with a meaning in the combination of fonts, and the shape changes that are different from the font itself, so that it produces a completely different form from the font itself, and plays a role in the overall font.
The modeling method of Miaobi Shenghua is based on the understanding and application of the principle of morphological contrast, emphasizing the specificity and mutation of stroke morphology. The curvature in the straight, the thickness in the slender, the mottle in the smoothness, the three-dimensional in the plane, the mutation in the ordinary, the delicacy in the rough, and the tradition in the modern may seem unrelated, but they can tolerate each other and achieve coexistence.