What are the key points and principles of art font design?

Words are emotional, and every word has its own temperament. Therefore, when designing fonts, we should grasp the temperament of the text itself to design. The following are the main points and principles of art font design recommended by Bian Xiao.

1. The temperament of the text itself:

The word "temperament" is not only used to describe people, but also the corresponding font itself exists. Every character has different temperament, such as "beating", "ploughing", "thinking" and "setting". All the characters are alone or with different characters.

2. Font recognition:

Recognition is very important for font design. When you deal with those vertical and horizontal points, you should consider whether the font you designed can be recognized in the eyes of others, whether the words in this group are somewhat similar, and whether the information will be inaccurate and lead to misunderstanding. For example, "noon" and "cow", "thousand" and "dry" and so on, all of which need careful consideration.

3. Selection of font form (characters):

With the meaning and identifiability of fonts, the next thing to consider is the choice of font forms, whether to use flat or slender, or even calligraphy or comics. The choice of this step can not be ignored, because these forms bring people different feelings: flat-steady, slender and powerful-the thinnest calligraphy-tradition and culture.

Note: the characteristics of the above four forms are just routines, usually corresponding to each other in design and processing, and the boundaries are not so clear!

4. Font center of gravity control:

These points have all been mentioned above. What is considered here is the center of gravity control of this group of fonts, which is to control the center of gravity of this group of fonts in the middle, up or down, and even some of them are left or right in the design, in order to achieve overall balance or achieve a dynamic aesthetic feeling! This step is more conducive to the development of stroke changes in the future!

5. The addition, subtraction, multiplication and division of strokes and the handling of Lian Bi:

The whole set of fonts will inevitably encounter some problems in design, so when dealing with special font design, we should consider the addition, subtraction, multiplication and division of strokes and the treatment of Lian Bi, so as to achieve the overall balance and even the feeling we want more. For example:

1. Application of addition and subtraction: When designing the combination of words with few strokes and words with many strokes, we should try to appropriately subtract some strokes of words with many strokes that do not affect recognition or add strokes to words with few strokes to achieve the effect. The preliminary condition is that it does not affect the recognition of the font itself.

② Application of multiplication and division: Like the characters we usually design, sometimes when two strokes intersect or are tangent, we should try to adjust the strokes slightly to achieve visual balance. When we design strokes, we usually increase the width of vertical strokes and then transform them, so that the designed fonts can be more powerful and the strokes can be more harmonious.

③ Lian Bi processing between words and graphic substitution: both of them are for more vivid and meaningful processing of fonts as a whole. First, let's talk about Lian Bi between words. For Lian Bi, there are two main forms. One is that the strokes between words can be read continuously, and there is a sense of ambiguity. The second is that two words can use one stroke. The third method is the dislocation method that we usually see, looking for connectivity in the dislocation of words, reminding us again that if you have to connect when designing a set of fonts, if the above can't be realized, you must find a way to add lines or other things to connect, but we can't impose a hard-changed form to design when dealing with the word Lian Bi, because such treatment will destroy the overall feeling. If we really can't connect the whole set of words, we will give up. These are just an experience in designing fonts, and many forms need to be tried and accumulated. As for the graphic replacement or addition in font design, it is to make the font more beautiful and vivid, so I won't say much here. As long as the graphic replacement or addition is handled properly and does not affect the recognition, try it boldly!

6. Handling and adjustment of details:

In the final analysis, the difficulty of font design is the processing between horizontal and vertical strokes. In font design, if the horizontal and vertical strokes are not handled properly, it will easily lead to confusion and disharmony in the overall font design. The disharmony here is mainly that the horizontal and vertical strokes have not reached harmony, and the overall aesthetic effect has not been achieved. For your reference, the design of Yipin summarizes the following points:

(1) When there are more horizontal and vertical strokes and fewer left and right strokes, the general processing form is to try to process the left and right strokes into vertical strokes or horizontal strokes to achieve the coordination of the whole strokes.

(2) When the strokes in the horizontal and vertical directions are basically equal: When the strokes in the horizontal and vertical directions are relatively equal, my general treatment method is to gradually increase the inclination of the strokes near the middle of the whole set of fonts to unify the strokes.

(3) When there are too many left and right strokes, there are fewer left and right strokes: This situation is generally handled obliquely with vertical strokes or obliquely with vertical strokes.

The above three points are just personal common handling methods, and I hope to help everyone. There are still some points to deal with. For a group of characters as a whole, if the points are not handled well, there will be a feeling of overall disorder. Therefore, when designing fonts, points are generally treated as a whole with horizontal, vertical, left and right strokes.

7. Handling of font size:

For font design, the size between fonts should not only consider the mathematical size, but the corresponding visual size is what we want, because in font design, the visual impact of fonts with simple strokes is different from that of fonts with complex strokes, so we should properly handle the size, not just consider the mathematical size.

Art font design's principles

1. readability of text:

The main function of writing is to convey the author's intention and all kinds of information to the public in visual communication. To achieve this goal, we should consider the overall appeal effect of words and give people a clear visual impression. Therefore, the characters in the design should avoid complexity and confusion, make people easy to identify and understand, and avoid designing for the sake of design, forgetting that the fundamental purpose of text design is to better and effectively convey the author's intention and express the design theme and idea.

2. Give the text personality:

Character design should obey the style characteristics of the work. The design of characters can not be divorced from the style and characteristics of the whole work, let alone conflict, otherwise it will destroy the appealing effect of characters. Generally speaking, characters can be divided into the following categories: (1) dignified and beautiful. This type of fonts is beautiful and fresh, (2) elegant in style, and (3) gorgeous and noble. (4) strong and straight. The font is vigorous, (5) concise, (6) modern and (7) strong visual impact. (8) Deep and heavy. Regular fonts, (9) sense of weight, (10) solemn and dignified, (1 1) unshakable. (13) cheerful and brisk. The font is lively, (14) jumps brightly, (15) has a strong sense of rhythm and (16) gives people a sense of vitality. (17) vigorous and simple. This kind of font is simple and unpretentious, (18) full of ancient charm, and (19) can give people an experience of missing the lost time. (20) novel and unique. The shape of the font is wonderful, (2 1) is different from (22) is different from (23), (24) has outstanding personality, (25) gives people a unique impression and (26) is novel.

3. Visually, it should give people a sense of beauty:

In the process of visual communication, text, as one of the picture elements, has the function of conveying feelings, so it must have visual aesthetic feeling and give people a beautiful feeling. Good font design and clever text combination can make people feel happy and leave a good impression, thus obtaining a good psychological response. On the other hand, it makes people unhappy after reading it, which makes it difficult to produce aesthetic feeling visually, and even makes the audience refuse to watch it, which is bound to make it difficult to convey the author's intention and conception.

4. Design should be creative:

According to the requirements of the theme of the work, highlighting the individual color of text design and creating unique fonts give people a unique visual experience, which is conducive to expressing the author's design intention. When designing, we should explore the morphological characteristics and combination of characters, constantly revise and ponder, and create personalized characters, so that their external forms and design styles can arouse people's aesthetic pleasure.