0
 
 
 
 
 
 
IT’S EASY TO GET CARRIED AWAY WITH SIZE CONTRAST
UPPERCASE  IS NOT THE ONLY WAY TO DRAW ATTENTION
USE A RELATIVELY LARGE SIZE TYPE AS A DESIGN ELEMENT
 
 
 
 
USE WEIGHTS TO CREATE PATTERNS AND GUIDE THE EYE
MAKE  A “GRAY” PAGE INTERESTING – DRAW THE READER IN.
 
 
CARDINAL SIN -  AVOID PLACING TWO OLDSTYLES ON THE PAGE-  THEY CONFLICT, THEY’RE TOO SIMILAIR
CLASSIC STRUCTURE CONTRAST – SERIF WITH SANS SERIF
IF YOU MUST USE A TYPEFACE FROM THE SAME CATEGORY-  USE  A  LITTLE  IMAGINATION
 
 
 
IN CASE YOU DIDN’T BELIEVE ME
MOST COMMONLY USED FORM CONTRAST –  UPPER CASE WITH LOWER CASE
DON’T EVER COMBINE TWO DIFFERENT ITALIC /SCRIPT FONTS
 
 
 
IF YOUR LAYOUT HAS A POTENTIAL FOR A CONTRAST OF DIRECTION  EMPHASIZE IT, WITH COLOR, SIZE OR BACKGROUND
 
 
 
 
TYPOGRAPHERS BELIEVE YOU CAN ADD COLOR TO A DESIGN WITHOUT USING COLOR
CHANGING THE COLOR ON TEXT HEAVY PAGES GETS VERY HARD WHEN THE MEDIUM /CONTEXT IS LIMITING. BUT IT’S NOT IMPOSSIBLE
DARK  BOLD SANS SERIF TIGHTLY PACKED TEXT CREATES A DARK COLOR LIGHT AIRY TYPEFACE WITH LOTS OF LETTERSPACING CREATES A LI...
Size-  Don’t wimp out. Weight-  Contrast heavy weights with light weights not medium weights Structure-  Look at how the l...
Form-  Caps versus lowercase is a contrast of form as well as roman versus italic or script. Scripts and italics have simi...
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Type2

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Transcript of "Type2"

  1. 7. IT’S EASY TO GET CARRIED AWAY WITH SIZE CONTRAST
  2. 8. UPPERCASE IS NOT THE ONLY WAY TO DRAW ATTENTION
  3. 9. USE A RELATIVELY LARGE SIZE TYPE AS A DESIGN ELEMENT
  4. 14. USE WEIGHTS TO CREATE PATTERNS AND GUIDE THE EYE
  5. 15. MAKE A “GRAY” PAGE INTERESTING – DRAW THE READER IN.
  6. 18. CARDINAL SIN - AVOID PLACING TWO OLDSTYLES ON THE PAGE- THEY CONFLICT, THEY’RE TOO SIMILAIR
  7. 19. CLASSIC STRUCTURE CONTRAST – SERIF WITH SANS SERIF
  8. 20. IF YOU MUST USE A TYPEFACE FROM THE SAME CATEGORY- USE A LITTLE IMAGINATION
  9. 24. IN CASE YOU DIDN’T BELIEVE ME
  10. 25. MOST COMMONLY USED FORM CONTRAST – UPPER CASE WITH LOWER CASE
  11. 26. DON’T EVER COMBINE TWO DIFFERENT ITALIC /SCRIPT FONTS
  12. 30. IF YOUR LAYOUT HAS A POTENTIAL FOR A CONTRAST OF DIRECTION EMPHASIZE IT, WITH COLOR, SIZE OR BACKGROUND
  13. 35. TYPOGRAPHERS BELIEVE YOU CAN ADD COLOR TO A DESIGN WITHOUT USING COLOR
  14. 36. CHANGING THE COLOR ON TEXT HEAVY PAGES GETS VERY HARD WHEN THE MEDIUM /CONTEXT IS LIMITING. BUT IT’S NOT IMPOSSIBLE
  15. 37. DARK BOLD SANS SERIF TIGHTLY PACKED TEXT CREATES A DARK COLOR LIGHT AIRY TYPEFACE WITH LOTS OF LETTERSPACING CREATES A LIGHT COLOR
  16. 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
  17. 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
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