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"Application of English fonts in wall promotion | Full analysis of portfolio layout techniques (1)"

Author: daogeziyuan • • Font Tutorial • Views 1259

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In addition to the dazzling expression and in-depth design, the most fascinating part of an excellent portfolio is the exquisite layout. The layout style is restrained and classical, and the picture comes from a page in the collection of the great god Wang Yutian (GSD). The style is atmospheric and full of information, and the pictures come from the collection of GSD's works. The layout is simple and advanced, and the pictures are from KHOAVU’s portfolio. The layout is smart and not cluttered, and the pictures come from ZHANGYIMING’s portfolio. Is the layout by these masters refreshing? Deeply impressed? When it comes to typesetting, most people will focus on issues such as layout design, color coordination, proportion balance, etc., but they often ignore the most basic point of typesetting, which is the design and use of fonts. It can be said that the proper use of fonts will often greatly improve the quality of the layout, and the content to be expressed will also gain a soul. However, applying fonts is no easy task. Each font has its own temperament and can express its own personality. Today we will talk about the "character" of fonts and how to control fonts with different personalities. Everything you need to know about typesetting, the English fonts recommended on the wall, and easter eggs at the end of the article. When disassembling fonts, there is a saying that "beauty is in the bones, not the skin." Whether a person is good-looking or not depends on the skeleton. Whether a font has beauty or not actually depends on whether the structure of the font is good-looking or not. This article will lead you to dismantle these fonts. Take a look at how beautiful fonts are designed. Before that, we need to learn some terms about fonts. Understanding the structure of these fonts can help us identify excellent fonts and choose the ones that suit our typesetting. Stem: Mainly straight strokes. Ziwan: Mainly refers to the strokes of curves. Cup: The space contained within the letter, whether closed or not. Serif: The claw-like or straight part at the bottom of a stroke. X height: The height of the lowercase letter x in a font. To be precise, it is the distance between the baseline and the main line. Rising part: The part of a letter in a font that goes up beyond the main line (central line) strokes, that is, the part that is higher than the height of the x. Descending part: The part of a letter in a font that goes downward beyond the main line (central line), that is, the part that is lower than the height of the x. Classification and evolution of fonts. Regarding the classification of English fonts, there are two simplest classifications: serif and sans-serif. Among them, the two most representative fonts, [Times New Roman] and [Helvetica], can most intuitively feel the difference between the two types of fonts. The biggest difference between the two is that the serif body has claw-shaped serifs and changes in stroke thickness. To sum up, throughout the development of serif fonts, the contrast between strokes has become more and more intense, the serifs have become sharper and slender, and the stroke thickness and serif arc of transitional fonts are right between Oldstyle and Modern. One of the main reasons is that the skills of engraving masters are becoming more and more advanced, and the engraving work has become more delicate, making precise lines and finer thickness contrast possible. The inclination angle of the emphasis line is gradually "straightened", which is a manifestation of the transformation from handwriting to modern typography. Old style fonts are characterized by diagonal accent lines, slanted and bracketed serifs, and gentle weight and thickness transitions. The style is more traditional and is commonly seen in the text layout of books, newspapers and magazines; modern fonts are characterized by vertical emphasis lines, horizontal and ultra-thin serifs, and strong thickness contrast. The style is horizontal and vertical, modern and cool. Sans serif, some very common English fonts, if used inappropriately will make our design look low. This font is the English font that comes with Heibo. In the same word, some letters are crowded together and some letters are far apart. Why does this happen? This is because this font designs the word spacing entirely based on logic and does not care about the width of the letters themselves, so it will look ugly after typesetting. Real English font design is not just about designing 26 letters. A truly excellent font design will carefully design the spacing between each letter and the letters, so that the typesetting will be more harmonious and unified. Classic Western fonts are recommended. The more fonts, the better. Some new students blindly install thousands of fonts, but it is of no use. On the contrary, it makes selecting fonts particularly troublesome. Everyone knows that Miss Smith has one of her most famous sayings: "Less is more." The use of fonts is the same as the use of colors. I suggest that everyone can do less is more and let excellent fonts sublimate your design. Rather than choosing some weird and messy fonts to make your design worse. If you have difficulty choosing. Or maybe you're not sure which font is suitable. You might as well try some of the classic English fonts I recommend today. These fonts have been tempered and developed for decades or even hundreds of years, and have been used by publishing houses and designers. They are all very classic, practical and beautiful fonts. These fonts that have not been eliminated by history must have their highlights that cannot be ignored. Serif font, fashionable | feminine | slender and elegant, is often used in fashion magazines and article titles. Didot is named after the famous French printing house and the Didot family. The most famous typeface, Didot, was developed between 1784 and 1811. Belongs to Modern modern lining. During the period of industrial innovation, the unique font characteristics of modernist serifs became an alternative to traditional serifs.

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