According to the characteristics and types of use of standard fonts, their design styles can be roughly divided into the following categories:
The font is beautiful and fresh, the lines are smooth, giving people a gorgeous and feminine feeling, this style of font, suitable for women's cosmetics, jewelry, daily necessities, service industry and other themes.
Font shape is regular, full of strength, giving people a simple and refreshing modern sense, has a strong visual impact, this style of font, suitable for network technology and other themes.
The font shape is vivid and lively, has a distinct sense of rhythm and rhythm, and the colors are rich and bright, giving people a vibrant feeling. This style font is suitable for themes such as children's products, sports and leisure products, fashion products, etc.
The font is simple and unpretentious, full of ancient charm, can bring people a sense of nostalgia, this style of font is suitable for traditional products, folk artworks and other themes. Such as the font design of liquor brands.
Font design is never an easy thing, font design production is a long-term accumulation of the result, will also be accompanied by aesthetic beauty and improvement, want to design a good font, what kind of skills to improve it?
The pen shape is a variable element of the ever-changing font, and the font composed of what style and tone of the pen shape must also be comprehensively reflected in the style of the pen shape. To create a new typeface, shaping the pen is the primary key. The pen shape is the basic image that constitutes the stroke of the text, and in the creation of the pen shape, it is necessary to be good at summarizing, daring to imagine, and being creative.
Structure is the law of font composition, what law to form the font, to form the personality characteristics of the font, this must rely on the structure to solve. In the composition of the font, changing the structure is the main method that reflects the creative expression of the font.
Transforming structure refers to creating various new structures based on the existing structural laws of the font through creative changes and transformations. To change the font structure, we must dare to innovate, be good at discovery, multiple structures, and unify performance.
The pen shape of the font is like the vocabulary of human language, with a very rich composition form, and various composition forms show various vitality in a distinct image style. The Song font, black font, Lishu, Italics, cursive, etc. in chinese character fonts, ancient Roman fonts, modern Roman fonts, modern free bodies, caroline lowercase fonts, etc., all fully reveal their personality characteristics from various pen shapes.
The pen shape of the font cannot be changed relative to a certain prescribed font, the Song body is composed of a set of Song body pen shapes, and the black body is composed of a set of black body pen shapes, but relative to the creative font, it can be transformed according to different creative source points, and through the processing of various transformation techniques, it can often bring a unique new glyph. There are many ways to change the shape of the pen, such as mutation, irrational rotation, superposition, excessive transformation, mutual contrast, etc.
It is known that since its inception, the typeface has always been a figurative symbol that shows various figurative meanings, such as the original hieroglyphs. In people's memory and recognition, a font slightly changed, let people have a great difference in the senses, therefore, in the font structure to fully use the image to change the original structural style, can form a breakthrough personality from the essential characteristics of the font composition.
Or a partial stroke that changes the structure with an abstract line, or a stroke on a side with a concise metaphorical image, or a stroke lined with a personalized image, or an interdependent image with a certain image and a stroke, can shape a new type of font structure style through different methods of image superposition. Its method includes image lining interdependent image lending, image lending.
The black and white area is an important factor in reflecting the creativity of the font, and it is also an important factor in testing the performance of the font. The entity composed of font strokes is called the black area, and the virtual part that is dependent on the stroke is called the white area, and the boundary between the black and white area is mainly reflected in the junction between the physical stroke and the virtual non-stroke. The formation and change of many font styles, just a slight movement of this dividing line, will form a completely different font creative style.
The relationship between the black and white areas, although it is relative to the change between the thickness of the font pen, such as expanding and reducing the area of the white area, this change will bring a completely different feeling to the font. In the specific changes, usually according to the definition of the area of the black and white area, starting from the two large areas of black and white, from different aspects to express the novel personality of this font.
The shape of the font has evolved for a long time, and has formed a standardized shape, or square or round or triangle, but with the development of human culture to a certain extent, the standardized font shape is relatively dull, then, breaking through the too rigid font shape, will inevitably become one of the leading directions of modern media performance.
Whether it is a Chinese character or a Latin font, on the basis of following the overall shape specification of the font, one or two of the strokes can be selectively broken through the definition of the shape, or extended outward, connected, or contracted, dependent on other strokes, in addition, the font can be changed into various inorganic forms according to the needs of the specific performance theme. The performance of breaking through the shape of the font should consciously jump out of the original box.
Although the knots of the font have formed various standardized personality characteristics in their own long-term development, they all constitute the qualitative structural law of the font with stylized side heads and stroke arrangements. However, with the development of various comprehensive factors in society, people require the personalized development of various visual media forms, and the structure of fonts must conform to the requirements of the times and be created in the composition law.
The re-design of the structure is to creatively break the structural specifications of the original font on the basis of the traditional font structure, and according to the new aesthetics of the visual image, some partial peripherals will break through the composition law of the original structure and create a new type of structure in the original structural arrangement.
replacement
Element substitution is the addition of other different graphic elements or text elements to the text in a unified form. Its essence is to replace a certain part of the font or a certain stroke with graphic elements related to the text according to the content meaning of the text, replace the part of the text, expose the connotation of the text, and increase a certain artistic appeal in the image and senses.
Element substitution method applied to the font, mainly consider whether part of the font strokes can be replaced according to the meaning of the character graphic or abstract elements, in the integration of these graphic symbol elements, must fully consider the characteristics of the font strokes, the replacement of the graphics to have a sense of beauty, but also can not destroy the overall sense of the font, so that the font in the design to show intuitive artistic beauty.
Stretch
The local stroke stretching method is to stretch the apostrophes, dots, strokes and other sub-strokes of the font for decorative treatment to increase the level of the font and enrich the decorative role of the font. When carrying out the local stretching method, we generally stretch the appropriate side strokes of the font locally, the stretched curve should pay attention to the beauty of the arc, and the interspersed lines should pay attention to the virtual and real echoes in the font space, only the study of details can design a stretched font with aesthetics.
Local stroke stretching method is the easiest way to express the warm and romantic artistic technique in font design, by looking for the oblique direction characteristics of skimming and pinching between fonts and fonts, we can use curves with beautiful curves to combine the artistic characteristics of the direction of skimming and pinching in the text to express a beautiful literal mood. It should be reminded that when using this method, the arc drawing should be fine, and the arc should show a beautiful arc beauty, so the drawing of the arc slope should be grasped well.
unification
The pen shape unification method is to make a certain variation on the shape of the stroke, which is to change the stroke on the basis of the basic font. Its font expression is characterized by the formation of a unified element style in the font, and then the deformation of this stroke is uniformly applied to the glyphs with similar characteristics of the stroke structure, so that the combined text forms a unified font style. Use this method to design the pen shape of the font according to the meaning of the word.
The pen shape can be arcs, slashes, curves, etc., and the unified application of the pen shape to the text can produce a new font art. The pen shape unification method is one of the design methods that can unify the font style, and the use of the design method must be paid attention to, first of all, the text structure characteristics or stroke characteristics must be analyzed, and the unique pen shape elements are designed, and then the pen shape elements are repeatedly applied to the relevant structure of the text to form a sense of visual unity.
Break it off
The stroke breaking method includes two techniques: connection design and disconnect design. The connection design is to put the words between the words through the more malleable strokes or decoration on the strokes, so that the organic connection runs through, so that the group words become a whole. For example, two adjacent words share a stroke, or connect the strokes of two adjacent words. When working with stroke connections, find strokes that can be extended or merged in adjacent parts, provided that the strokes are connected naturally so that the font combination becomes a whole.
A break design is a text local stroke that is broken or subtracted. For example: some sealed enclosed words, appropriately disconnect a mouthful out or disconnect the left and right strokes, it should be noted that the use of this method to maintain text recognition under the premise of appropriately disconnecting the stroke connection.
Stroke breaking method is a relatively easy font design technique, mainly from the adjacent text to find the strokes that can be connected, forming a sense of visual coherence, for the single word "broken" method design, mainly to find the font stroke between the clever turns, break through the closedness of the structure, find a breakthrough in the visual art performance.
Thinning
The subtraction method is mainly to express a slender, elegant font style, in the visual processing, the horizontal and vertical of all the text will be thinned to form a visual sense of slenderness, and the text can also be elongated as a whole to form a slender visual feature; in order to process the text out of elegant visual beauty, the part will be modified in arc, so that the font style is slender and beautiful.
The subtraction method is generally to thin the horizontal and vertical proportions of the text, in order to increase the slender and slender visual beauty of the font, it is often used to modify the strokes of the text with curves to increase the visual beauty of the font.
Playful
The playful design method is mainly based on the literal meaning of the text and the characteristics of the stroke structure, boldly unfolding the creative imagination, and can boldly break through in the stroke processing, integrate the graphics or symbols related to the literal meaning, and match the color filling, so that the text shows the playful and cute font art style.
The playful design method can break through the limitations of the stroke of the text to the greatest extent, integrate graphics, symbols and colors according to the literal meaning of the text, and the expression of the font can also be written without sticking to the conventional word, which is the artistic integration of symbol creativity and font.
share
The stroke sharing method is to find whether horizontal strokes, vertical strokes or oblique strokes can be connected and symbiotic from adjacent two words or a group of words, creating a new common stroke, or from a simple composition angle to find the similarities and differences between strokes, find out the internal connection between strokes, find the conditions that can be used together between fonts, extract it and merge it into one.
The use of the stroke common method, the designer must carry out more practical exploration, the use of this method on the font stroke generalization is stronger, the common stroke line can be handled with a strong sense of visual composition.
Scattered
The staggered placement method is mainly in the font combination design, such as in the horizontal combination word arrangement, the combination word is arranged as the upper left and lower right, in order to highlight the beauty of the visual process; in the vertical combination word arrangement, the text is processed on the left upper right or lower left and lower right, so that the text is arranged in a high and low staggered manner, so that the font combination arrangement is both vivid and in line with the visual process law.