text| Said
Edit | Dou Lai said

Structural elements of movie dynamic typography

Caslon and Baskerville are classic English characters, Garamond is a French character, Goudy is an American character, Bodoni is an Italian character, etc. Characters with modern wheelbases such as Minion, Swift and Meta are perfect for modern themes.

Author and graphic designer Ellen Luoton explains: "When choosing typefaces, graphic designers consider the history of typefaces, their present connotations, and their formal qualities. Additionally, The choice of font is very important, because it can give the audience an impression.

In this regard, we can read in "Graphic Design": A typeface without an axle evokes modernity to the universe, unlike one with an axle A font with spacing like Garamond. Created at the end of the 18th century, it has some formal features that were considered "modern" in their day, such as its perfectly vertical axis, and its strong contrast between solid and solid.

loose, new compared to the "handwritten" form of ancient characters. In modern compositions, however, Bodoni is associated with classicism and history. While it can be used in contemporary ways, it is important to understand its history and its relevance, to guide its selection correctly.

In other words, in general, contemporary typefaces, such as Universe, work better in modern contexts, while classical typefaces, such as Garamond, are better suited to literary and fairly classic Story.

By understanding the origins of typography, David Rotter, graphic designer, journalist and photographer, explains: "Every character, beyond its form, has its own past."

It carries a cultural, historical and social baggage created simply by its presence on a page, beyond the meaning of words, a true The atmosphere, to say the least, is a shame to ignore. Choosing the right font is the main task for the designer to complete the project evaluation.

Some go even further, thinking that in the design of a movie's ending credits, this choice can affect the entire production. In this regard, Lionel Dutrieux explains: “Typographic choices are often relegated to a secondary level, affecting The entire film form, even beyond the pure film framework.”

The choice of typography for movie credits can also be made between a mention font and a title font, as each font has its own selection criteria. Given the historical aspects of typography and the vast array of typefaces, understanding the individual identity of each character seems essential to making the right choice. Categorizing font families can be a shortcut for this purpose.

Even today, thanks to digital technology, it has never been easier to select a character, whether intended for publication in a printed codex, downloaded to a tablet, in the Shown on TV, or shown on a movie screen. Of course, categorization of typographical characters helps to better analyze and understand their character, form and history.

We can read in Typography and Typography: It was in the course of the Industrial Revolution that in order to gain a clearer picture of the explosion of new typographic styles, printers and historians began to develop such classification systems . These categories generally correspond to periods in the history of art and thought, from the emergence of humanist figures during the Renaissance to the neoclassical typography of the late eighteenth century.

The most useful aspect of classification is that it can point out certain fonts or Formal characteristics shared by font styles, thereby providing points of comparison for better analysis of typographic styles. However, categories so defined are only a benchmark, as the boundaries they draw are very relative.

While most typeset tables fit easily in a box, many tables refuse to allow themselves to be so easily locked in a box. In this regard, Bruce Willen and Nolen Strals explain: some geometric or neo-grotesque sans-serif fonts show humanist influences.

The so-called "half-serif" style belongs to both the classic serif and sans-serif worlds. In their experiments, typographers and letter designers often transcend the limitations of traditional typographic categories. Clearly, There are several classification systems that can be an essential tool in helping designers choose appropriate fonts to enhance the expressive message of typography.

Font categories are useful as they list different Characteristics. They allow you to move fonts around and see commonalities between various related characters. So the Roman still has a wheelbase, and the "ancient" wheelbaseless, like the Gillless wheelbase, combine wheelbaseless and archaic shapes.

It's also important to know that when we talk about classification systems, it's not an exact science because there are so many characters for letters. However, A short guide can help identify different families and discover their different applications. As we read in "Basics of Typography", several classification systems exist side by side, from the most basic to the most in-depth.

Font grouping

Fonts can be grouped by common characteristics, era or application. The first level of classification is to distinguish serif, sans serif and cursive fonts. In 1921, Francis Tipbodeau created one of the earliest known typologies. He divided typefaces into four families: Elizabethan, Dido, Egyptian and Antique.

This classification is based on the shape of the character's wheelbase, which are triangular, filamentary, quadrangular and absent. Some classification systems group by time, such as Alexander Lawson's classification system. In his system, the names of the different categories are often associated with the time when these typefaces appeared, this classification traces the history of typography to some extent.

It allows us to understand history and thus choose fonts that evoke a particular era. 1953, Maximilien Vox, typographer, journalist, layout designer, teacher, advertiser, publisher (among others) and founder of the Lure International Conference, Extends and complements the previous one with nine basic families.

Its classification is the most recognized today: it consists of 9 families Composition. It was approved and supplemented by the Typographic Association International (ATypI), the world's largest typographical organization, which added two more families (Fault Zone and Non-Latin) in 1962, and is the most commonly used formal classification.

It is especially based on the history and style of the characters, the proportions, the contrast between solid and non-solid, the more or less inclined axes of the circular letters, the shape of the wheelbase, the inclination of the apex degree as well as some individual characteristics, in the context of our study of typographical elements in movie titles, we chose the character classification system of Vox-AtypI.

Next, we describe each of these characters, to study their personalities, their characteristics, and the atmosphere they can bring to the reader. Through this research, we will be able to know how and under what circumstances each of these characters is used.

Furthermore, in each typographic style, the wheelbase seems to be one of the important criteria for this classification, since in all systems the wheelbase is dealt with. That's why we'll describe both types of characters.

Serif and sans serif

The serif font features the addition of small bars at the ends of barrels and beams. Wheelbase guides the eye from one end of each line of text to the other, making reading easier. Serif fonts are, in principle, older, more traditional fonts. However, some are more recent creations.

The shape of the wheelbase can be used as a clue for trait classification. Classical characters have triangular wheelbases, with "Humanes" having a relatively thick wheelbase, "Garaldes" having a narrower wheelbase, and "Didones" having a thinner wheelbase. The rectangular wheelbase signifies "Egyptian". Characters inspired by engraved inscriptions, with very small wheelbases, or simply thickened drums at the ends, are called "cutouts".

A serif font allows each letter to be distinguished while providing continuity and improving the readability of the text. The lines formed by the wheelbase form landmarks that the eye can follow, avoiding jumping from one line to another. Use this font for less visual fatigue. More modern, they are characterized by more regular stroke thickness, larger eyes and less steep curves.

Sans serif characters are called "stick characters" or "linear characters" . As David Dabner puts it, "The first sans serifs were made by Caslon in 1816 and William Thorogood in 1832. In the Anglo-Saxon world they were called" weird".

This type of writing developed primarily after World War I, whenadvertising print (posters, catalogs) became commonplace, In the early 1920s, the study of Bauhaus also began. The work of the Bauhaus artists rejected all aesthetics in favor of functionalism, mixing architecture and typography.

They approached in the same way, adopting a model they considered culturally uncharacteristic. Its purpose is to eliminate traditional decorative forms and apply the principle of "form follows function". Simple typographic structures require clear, functional typefaces, which is why sans-serif, uniform, functional lines are useful.

Author’s point of view

The sans serif family was originally used for advertising posters and only exists in the capital. The main characteristic of fonts in this family is simplicity: They are straightforward and simple. Examples of these characters include Futura, introduced in 1927, and Gill Sans, introduced two years later. In the following decades, notable figures in Europe.

Like Helvetica and Optima, Franklin Gothic helped make sans serif one of the most popular styles in America. Helvetica was created by Max Miedinger in 1985, is the most famous and most commonly used unlined One of the line fonts,For typography of movie titles.

David Rotter said: "Humans express tradition, wisdom and knowledge. They tend to have a rustic side compared to the refinement of the Garaldes."

The Garaldes family was inspired by the typographical creations of the 16th century, and the typographical creations they have inspired since then, it is the perfection of the human family character, art The rigor of the to some extent supersedes the influence of the hand, according to David Rotter ,These fonts are synonymous with nobility, elegance, tradition, refinement< span style="background-color: #FFBA12; --tt-darkmode-bgcolor: #FFBA12;">.

Their forms recall the worlds of literature, art and knowledge. One can recognize them by the fineness and delicacy of the wheelbase, the bar of the "e" that becomes horizontal, and the solid and loose shafts that always slope to the left, the ultimate calligraphic influence.

The Réales family is composed of austere and rational typography redesigned during the classicist period of the Louis XIV era and contemporary typefaces inspired by it. Very very precise and readable characters, ideal for long texts like books< /strong>. David Rotter explained: "The character of this family exemplifies literary, administrative, intellectual, frugal, serious, dependable and trusting."

Didones, mechanes and linales form a trilogy of modern characters, born of the Industrial Revolution at the end of the 19th century. Under mechanical influence, the characteristics of these traits consist of simple, functional traits . Also, let's note that typography in the 19th century was influenced by all the upheavals of the period, but most importantly by the "Industrial Revolution".

New needs arise, such as advertising, which requires large and attractive typefaces, and the need for cheaper and more books, which requires the development of printing systems and very small font.

The Didons family includes typefaces from the late eighteenth and nineteenth centuries, these vertical typefaces with extreme contrast, very thick solids and elongated ones Wheelbase. Romantic, naturalistic and austere.

David Rotter explains, from Hugo to Balzac, Baudelaire and Zola, the first newspapers and the bourgeoisie, and the administrative and government documents of the time, Reminiscent of the literary world of the 19th century. They have a strong sense of seriousness (especially capital letters) and should be used sparingly.

They can also evoke a certain modern and feminine nobility, mainly in the magazine world , as they are used in the logos of Vogue, elle, and Haper's Bazaar magazines. The most famous and commonly used of these characters are Bodoni and Didot.

references:

1. Li Gang, Li Weiyu. "The Visual Expression of Text Design in Movie Posters" [J]. Design, 2015(16):134-135.

2. Sheng Zhen. "On the Text Design of Movie Posters" [J]. Mangzhong, 2015(03):155-156.

3. ​​Zhang Penghui. "On the Art of Text Design in Movie Posters" [J]. Mangzhong, 2014(21):183-184.

4. Wang Weiyin. "Analysis of Multi-dimensional Design of Movie Poster Text" [J]. Writer, 2014(20):207-208.

5. Li Cuiqing, Li Shuqing. "Text Creativity in Movie Posters" [J]. Writer, 2014(06):217-218.