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Transcript

  • 1.  
  • 2.  
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  • 7. IT’S EASY TO GET CARRIED AWAY WITH SIZE CONTRAST
  • 8. UPPERCASE IS NOT THE ONLY WAY TO DRAW ATTENTION
  • 9. USE A RELATIVELY LARGE SIZE TYPE AS A DESIGN ELEMENT
  • 10.  
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  • 14. USE WEIGHTS TO CREATE PATTERNS AND GUIDE THE EYE
  • 15. MAKE A “GRAY” PAGE INTERESTING – DRAW THE READER IN.
  • 16.  
  • 17.  
  • 18. CARDINAL SIN - AVOID PLACING TWO OLDSTYLES ON THE PAGE- THEY CONFLICT, THEY’RE TOO SIMILAIR
  • 19. CLASSIC STRUCTURE CONTRAST – SERIF WITH SANS SERIF
  • 20. IF YOU MUST USE A TYPEFACE FROM THE SAME CATEGORY- USE A LITTLE IMAGINATION
  • 21.  
  • 22.  
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  • 24. IN CASE YOU DIDN’T BELIEVE ME
  • 25. MOST COMMONLY USED FORM CONTRAST – UPPER CASE WITH LOWER CASE
  • 26. DON’T EVER COMBINE TWO DIFFERENT ITALIC /SCRIPT FONTS
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  • 30. IF YOUR LAYOUT HAS A POTENTIAL FOR A CONTRAST OF DIRECTION EMPHASIZE IT, WITH COLOR, SIZE OR BACKGROUND
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  • 35. TYPOGRAPHERS BELIEVE YOU CAN ADD COLOR TO A DESIGN WITHOUT USING COLOR
  • 36. CHANGING THE COLOR ON TEXT HEAVY PAGES GETS VERY HARD WHEN THE MEDIUM /CONTEXT IS LIMITING. BUT IT’S NOT IMPOSSIBLE
  • 37. DARK BOLD SANS SERIF TIGHTLY PACKED TEXT CREATES A DARK COLOR LIGHT AIRY TYPEFACE WITH LOTS OF LETTERSPACING CREATES A LIGHT COLOR
  • 38. Size- Don’t wimp out. Weight- Contrast heavy weights with light weights not medium weights Structure- Look at how the letterforms are built ; monoweight or thick/thin transitions
  • 39. Form- Caps versus lowercase is a contrast of form as well as roman versus italic or script. Scripts and italics have similar forms – don’t combine them Direction- Think in terms of horizontal type versus tall. Narrow columns of type rather tan type on a slant Color- Warm colors come forward; cool colors recede. Experiment with the “colors” of black text