Today there are a lot of different fonts. Each individual font has its own name, and many of them exist in different versions of the main type and picture. The picture of the headset should correspond to the disclosure of the contents of the inscription, and in this case the font should attract the ATTENTION reader and help him focus on reading the text, highlight the most important arguments.
Using a font in combination with illustrations
To properly choose a font for combining it with illustrations, professional designers advise to distract yourself from the functionality of the font for a while, not to try to "read" it, but to consider the font as a picture. Just as the image contains its own characteristics (for example, the thickness and rigidity of the brush), the letters of the font can also be viewed as a similar drawing. Analyze the distinctive features of the style of the image and choose the font of a similar outline. If the picture consists only of straight horizontal or vertical lines, then you select the font for it the same "rectilinear". For example, the font Mashine. If on the contrary, the drawing is all lively, smooth and "hand-written", then you select a font for it that simulates handwriting. For example, such as Betina.
Each inscription, especially in promotional products, should have its own artistic appearance and, in addition to the semantic load, carry a figurative image that promotes emotional visual perception.
There are features of the correct use of the font and more subtle, referring not to advertising products, but to the use in large arrays of text, namely in books, magazines, newspapers, etc. If it is a question of creating a website or an advertisement, designers have to take into account also other conditions: the general theme, the character of the text, the place, the reason for publication, etc. etc. Among all the requirements for the selection of fonts, you can highlight the most important rule - for large texts, the font should be easily readable. The rest of the rules can be reduced to the following basic ones:
Common Font Selection Rules
The font size greatly affects the readability of the text. All hand-written fonts (calligraphic and free) are best printed according to the size of the letters written by hand (14-18 points). In small pins, it will not be easy to read such a text. Not all fonts, even text, suffer a reduction of up to 6-7, especially smaller pins. But if some (Academic, Bodoni) protest categorically, then others (Bannikovskaya, ITC Garamon) suffer relatively well. In a report by the British printer Mark Barrett at the ATypI conference in Helsinki in September 2005 AD The following rules for constructing or selecting a font for use in a small pile are given:
Font type and its appropriate use
Choose a font depending on where you intend to apply it. For example, a chopped font in advertising is more readable than a new antique, and is better than other fonts suitable for carrying posters and slogans. And, on the contrary, in diplomas of honor, in comparison with the new antique, the chopped font looks inexpressive. The most common mistake for beginners is choosing a chopped font for the main text. If in the printed edition it is possible to regulate the intersymbol interval, then on the Internet this is still a matter of the future. Because of the features of the chiseled fonts (especially small ones), the letters merge with each other, and this, as you probably understand, does not improve the readability of the text in any way. From this follows a clear conclusion. Chopped fonts - only a large size and with an increased intersignal interval. Chopped fonts are ideal for headlines. They attract ATTENTION and force the reader to look at them.
Sets with serifs are much more functional. Thanks to their serifs, they allow you to type texts of small size (10-12 points) with a loss of readability equal to zero. But, unfortunately, such fonts are mostly not expressive. For a heading it is better to choose a chopped font. If it is not possible to change the font, then you should resort to any reception of the selection. Do not abuse serif fonts if you are selecting a font for computer texts. The simpler the font, the easier it is to read.
When working with decorative headsets, be extremely careful! For all their beauty and elegance, they have one strong drawback - they are difficult to read. Most often, decorative fonts are used in logos and to create an internal mood on a web page (for example, pages with Old Russian themes use Old Slavonic headsets, etc.). The choice of an unusual font can be caused only by the unordinary nature of texts in which such a font is applied. Therefore, use non-standard fonts with caution. Prefer business, clear and simple fonts, for example, Arial, Bastion, Pragmatica, Futura or Gelvetica. It is recommended to choose the same font for headings as for the main text.
- The font drawing should be simple, clear and familiar. Revolutionary forms and design delights are inappropriate.
- The font must have an enlarged point of lowercase characters and wide proportions.
- The contrast is relatively weak, about 3/4.
- Open forms are preferable to closed forms.
- Serifs either do not exist, or they should be "strengthened", giving a simple and even a rough form. Font generally should not have details disappearing when decreasing.
The more contrast the font color and background, the easier it is to read the text. The most common font color for us is black. When using a dark font, the background must be light.
Font Selection Tools
Do not overuse font selection tools (italic, bold, underline, color, shadow effect). Limit one or two ways to highlight the fonts. Make sure that the highlighted are really significant fragments of the text.
Uppercase and lowercase letters
Do not overuse capital letters. The text, written in capital letters, has to be read in syllables.
Do not forget about alignment. Bring the text in order and make sure that words do not "jump" on the page without meaning: the eye should slide freely in letters, the brain should not spend excessive efforts on reading. Lines aligned to the left or center are easier to read than aligned in width. Alignment to the right is acceptable only as a special technique.
It is better not to place the line vertically. With a horizontal arrangement of lines, let's say a small (no more than 20 degrees) slope.
Psychology of perception of a font in texts
Many psychologists and graphologists claim that by using the right selection of fonts, you can convey the mood, set the general mood when reading the text. If we assume in ATTENTION that the forms (geometric) have a certain psychological and emotional impact on a person, then such an assertion is not without foundation. As you know, different fonts have different spelling, size and kerning. Accordingly, the word, typed in one font, will differ significantly in FORM from the same word, typed in a different font. Of course, this topic rather refers to print advertising, writing slogans, advertising texts. But after all, the font is used when writing logos. In the end, there is such kind of logos as font logos.
The human eye perceives not individual letters, but groups of letters or words. This property of the eye, embrace groups of letters, their shape, and also the specific length of the lines is a factor that speeds up or slows down reading. Therefore, in addition to the font drawing, it is equally important to choose the right size, the distance between letters, lines, the length of lines and the layout of the text on the page or sheet of printed output. According to the established opinion of many experts, strict straight-line fonts possessing "machine", "technical" qualities are more attractive for men, and in women the favorites are more rounded and lush fonts with pronounced "tails".
Various studies have shown that serif fonts are easier to read, since serifs help the glance move from letter to letter, and the letters do not merge with each other. On the other hand, that sans-serif letters are easier to read in very large or very small fonts. But to establish uniform rules is very difficult (and more precisely, almost impossible), because besides the outline, the font size, length of lines, leading, free space and even paper are of great importance. And if we draw ATTENTION to the fact that lately fashion has called into question the very readability (to attract attention we use bizarre fonts and various effects of their placement).
Fonts without serifs (sans-serif)
They have a low emotional charge and are associated with practicality and sanity. They carry a modern common principle in themselves and are a reliable choice for those who crave harmony and are not concerned with self-expression through font design. Arial is most often chosen for personal correspondence.
Fonts with serifs
Less sexually defined, because they combine male authoritarianism with an organic, humanistic style, more attractive for women. Various studies have shown that serif fonts are easier to read, since serifs help the glance move from letter to letter, and the letters do not merge with each other.
Straight and angular fonts
Associated with inflexibility, cruelty; They are characterized by coldness, facelessness and mechanicality. In terms of psychoanalysis, they are defined by expressions such as "emotionally clamped" or "strong behind the mind."
With large round letters "O" and "tails" are perceived as friendly and "human", perhaps because their outline imitates the image of the human face.
Most often they are used to emphasize novelty, brightness, individuality. But, it's better never to use them as the main text, not only that they are unreadable, so also the effect disappears.
Fonts of manuscript style
It is an attempt to convey friendliness and intimacy. At one time, these fonts were used by banks who want to avoid the sense of "cadence" by imitating "personal signature" in the letters. Using manuscript styles, large corporations set the task of appearing more friendly, "close to the people".