The shape design can break the standard word frame or square arrangement of the text square, so that it can be adapted to other shapes, triangles, arcs, trapezoids, waves, etc. or irregular shapes. In the arrangement, it can be arranged in the form of radiation, gradient, oblique division, etc., that is, it can be freely and flexibly processed according to the purpose of application, and the combination of single words or multiple words can also be divided and scattered and reconstructed to form a variety of diverse and unified new overall shapes.
Font figuration. According to the shape and meaning of the word, combined with typical figurative things, the text itself is replaced by graphics and images.
Font structure design is a conscious processing of the structural space of the glyph, that is, to break the structural characteristics of the glyph habit, create changes, make the text produce a sense of visual novelty, and enhance the visual impact. However, this kind of processing word count should not be too much, and the recognition of the text should be ensured.
From the overall layout and position of each head and side, the movement, blurring, deformation and other processing are carried out, resulting in staggered changes.
The size of the structure is processed to change the overall layout.
Change the center of gravity of the structural layout, so that its distribution breaks the original equilibrium and symmetry, resulting in new visual effects.
The local pen shape is emphasized to make the structure produce a dense contrast change.
Stroke thickness. The thickness and size of the strokes in the glyph are processed with the size and thickness of the main and secondary strokes of the font, and generally the treatment of the secondary strokes, because the changes in the sub-strokes will not affect the overall shape.
Stroke shape. The figurative characteristics of the strokes are the constituent basis of the glyph style. Using the principle of font design, the stroke shape is uniformly and regularly designed, which can constitute different fonts, and the shape of the local strokes in the glyph can also be summarized to simplify its structure.
Stroke decoration. The strokes of the font are processed by adding decorations such as trim lines and sandwich flowers to make them more beautiful.
Strokes are shared. Two or more words overlap common strokes to form a compound word, but from different perspectives, different words maintain their own independent meanings, making the whole more interesting. The creativity of the common stroke makes each word produce a new meaning and new glyph of the combination without changing the original meaning, and fully expresses its internal relationship.
The whole depends on the association. The overall shape-dependent association is to grasp the overall text content and meaning, and shape the glyph through a certain overall figurative association.
Add or repeat locally. Look for graphics that express the typical characteristics of the text content, and add their images to some parts of the text to make the meaning of the text more explicit.
Partial visualization of the font. According to the specific content of the text, a certain local structure or stroke of the text is turned into a figurative shape.
Body decoration. Body decoration is to add related decorations to the strokes of the font itself to make the text more beautiful. Attention should be paid to the unity of the decorative and recognizable fonts.
Background decoration. Background decoration is the decoration of the background of the text related to the decoration of the pattern, and the anti-white technique can also be used to make the theme more prominent or obvious and increase its connotation. It requires uniformity of form and content.
Folding belt decoration. Folding belt decoration is to replace some strokes of the text with a ribbon line, so that the original daring strokes are connected, so that the decoration and unity of the text are stronger.
Dotted line decoration. Dot line decoration is the use of dots or lines to decorate the strokes of the text, which is a more commonly used decorative technique, which can make the entire glyph more rich and vivid.
Overlapping decorations. Font overlapping decoration is a decorative way in which some strokes overlap in a single word or partially overlap the structure between words and words. Overlay processing can enhance the sense of hierarchy, but pay attention to the recognition after overlay.
Connecting trims. Connection decoration is through the organic connection between words in the stroke, so that it becomes an organic whole, thus showing uneven, coherent beauty, to achieve contrast and unity, rhythm and rhythm of harmony.
Misplaced décor. Misplaced decoration is to move the font or stroke and structure in a positional dislocation, thereby increasing the sense of movement and rhythm of the font.
Pattern fill. Hatch refers to the process of grasping the outer outline of the word and filling the glyph with a pattern inside.
Shadow design. Shadow design is a font design that makes a font produce a shadow effect that appears after being illuminated by light.
Reflected design. Using the method of mirror reflection, the reflection is placed on the screen, so that people have the illusion of placing the text on the surface of the water or mirror.
Embossed design. The use of relief techniques to make the font concave and convex, so that it has a strong sense of three-dimensionality.
Light effect design. The use of points, lines and other modeling elements, through the effect of lighting, the font produces a change in brightness, so that the visual illusion of light sense is generated. The visual impact of the light effect is strong, but the recognition will be easily affected, and the artistry and recognition of the text should be considered when designing.
Perspective design. Perspective design refers to the use of perspective extinction points and viewpoints to design the three-dimensional effect of the text near and far. The three-dimensional space effect designed by the perspective method is visually real and thick, and the impact is strong.
Contradictory space design. The use of unreasonable spatial perspective creates a logical contradiction visually. Its essence is multiple viewpoints, generally shaped using common lines or common surfaces. It is an illusion that does not exist in reality.