2. Unity of strokes
The thickness and proportion of font strokes should be certain. In font design, the thickness and form of the same stroke within the same word and between different words should be unified, so that the font will not lose its overall sense of unity because of too many changes, making people feel uncomfortable visually.
The thickness of strokes in a font is an important factor to form a neat and balanced font, and it is also a necessary condition to produce aesthetic feeling in the process of unified change of fonts. Only when beginners master this criterion seriously can they fundamentally ensure the success of font design.
The consistency of font strokes and font size is the same, not absolute, because there is also a problem of visual correction. For example, in Chinese characters, a word with a fully enclosed structure cannot be an absolute quadrangle, otherwise it will feel bigger than other words around it. If you take it properly, it will feel as big as the surrounding words visually. In a group of words, the words with more horizontal lines should be adjusted to be neat and beautiful and unified with other words.
Step 3 be in the same direction
The unity of direction has two meanings in font design: first, it refers to the oblique strokes of the font itself, and the oblique strokes of each word should be treated as a unified inclination, and the strokes inclined to the left or right should be unified with a certain inclination to strengthen their sense of unity. Second, in order to make a group of fonts dynamic, a group of fonts tend to be evenly oriented and inclined. In this design, first of all, every word in a group of words should be tilted in the same direction to form a smooth line; Secondly, when dealing with the auxiliary strokes in each word, we should also make their slopes as consistent as possible, so as to maintain the same factors in the changes and enhance the overall sense of unity. It will not be messy and loose because of inconsistent changes, nor will it be difficult to produce good visual appeal because of lack of unified aesthetic feeling.
4. Unity of space
The unification of fonts can't just look at the consistency of their shapes, strokes' thickness and inclination. The aesthetic feeling produced by unification often depends on the balance of the strokes' gaps, that is, the space in the strokes should be evenly distributed to create a sense of unity of fonts. Fonts are simple and complex, and strokes are different, but we should pay attention to the visual unity of the size of a group of words and not treat them equally in absolute space. Words with few strokes have large internal space, so attention should be paid to narrowing them appropriately in design to achieve unity with other words with many strokes. The unity of space is an important factor to keep fonts compact, powerful and beautiful.
The making process of font design
1. Design orientation
Correct design orientation is the first step to design a good font, which comes from the collection and analysis of its related data. When we want to design a font, we should first consider what information the font wants to convey, what impression it gives consumers, whether the design orientation is to convey information or increase interest, or both; Where to display and use, and find the appropriate design carrier, appropriate type, size and appropriate means of expression; What is the breakthrough point of your design and whether the expression you created is correct and clear; Whether the content is serious or humorous; Whether there is an information sequence; Whether editing is needed, etc.
2. Creative sketches
Once you have some ideas about the theme and creativity, first record them with sketches and consider what color, shape and texture to use; Expressing a certain style in a certain period will remind people of a special event or feeling. So you can judge the form of your creative needs. Then you need to collect relevant visual materials as reference to make your design more credible. Good photography, design magazines and related books are all useful materials, and the practice of isolating images will produce mediocre works. It is very useful to do all kinds of visual experiments. Open your mind, think visually and don't think too much about details. Color should be put into the idea at the beginning of thinking, not at the end. At the beginning of design, you can use markers, colored chalk, chalk and other tools.
Step 3 plan in depth
Sometimes, the initial idea is not necessarily the most satisfactory design. If you are not satisfied with the final result, you can design the second or third scheme first. The design of every scheme should be in-depth, and frequent change of ideas can only lead to failure and frustration. No scheme is foolproof, but this working method has laid a good foundation for you. Your final design work must embody the essence of design. If your design is only a part of the whole design, you must consider the possibility of its use in different media. Then photocopy your design work, or make a virtual deduction in the design software and look at it with a professional eye. Sometimes the application of software may achieve unexpected design results.
4. Refining and synthesis
The most suitable part of the design will be further modified. Every part of the design should be developed in detail one by one to extract the best scheme.
5. The modification is completed
The final design scheme is processed by design software, and the expected effect is achieved by considering the shape, size, thickness, color, pattern, texture and overall layout.