آموزش پرینت تایپ فیس ایندیزاین Adobe InDesign Pairing typefaces

یکی از مهمترین تصمیماتی که شما در طول فرایند طراحی انجام می دهید، کدامیک از انواع تایپ استفاده می شود. این کار آسان حتی برای حرفه ای با تجربه نیست، بنابراین چیزی نیست که من به آرامی آن را انجام دهم، و نه باید. در این فیلم، من فرآیند خودم را برای ساختن تایپ فاکتورها با هم انجام خواهم داد، و من به شما ده نمونه از تایپ هایی که اغلب با یکدیگر متصل می کنم به شما کمک می کنم تا شما را درک کنید چه باید بکنید با شروع پروژه های خودتان . فرآیند تایپوگرافی هر طراحی منحصر به فرد که من ایجاد می کنم با شناسایی سه عنصر اصلی طراحی آغاز می شود. این عناصر عبارتند از عنوان، عنوان و بدن. حتی اگر قطعه ای که من کار می کنم به همه این سه عنصر نیاز ندارم، احتمال این است که جنبه های خاصی از هر چیزی وجود داشته باشد که بتوانم به همان ترتیب از یکی از این سه دسته استفاده کنم، بنابراین مهم است من دقیقا مشخص کردن صدا و تنهایی که می خواهم در هر یک از این زمینه های کلیدی تنظیم کنم. من این را از پالت متنم می خواهم، و درست مانند یک پالت رنگی، این ظاهر و احساس طرح های من را استاندارد می کند. هنگامی که این راهنمای سبک را در جای خود قرار می دهم، به سادگی آن را دنبال می کنم و طراحی من تقریبا به خودی خود به زندگی می پردازد. من هنگام پیروی از نوشته ها، پنج قانون اساسی را دنبال می کنم. اولین چیزی که بسیار ساده است: مخالفین جذب می شوند. با استفاده از قلمهای با ابعاد مختلف، وزن، سبک و روش های سرمایه گذاری، من قادر به ایجاد یک قطعه هماهنگ با کنتراست قطعی است که در اکثر موارد ضروری است. این بدان معنی است که با استفاده از چیزهایی مانند عنوان های جسور و کپی بدن نور، شما می خواهید آنها را به تعریف یکدیگر به سادگی، اما از انتهای مخالف طیف. Another option I try all the time is choosing one typeface family and sticking with it throughout the entire design. This is usually only accomplishable with typefaces that have several degrees of weighting, like Gotham, or Helvetica Neue. However, by using different styles of the same typeface, you create a definite sense of unity as well as an illusion of difference by the varying weight or size. Understanding the mood of the design project itself is my next consideration when pairing typefaces. You need to know what the message is, and how you're supposed to be delivering it in order to fully understand the mood of the piece. Not every typeface is perfect for every mood either. Look at this slide that we have here versus the next one. While there's definitely nothing wrong with the typeface pairing on this slide, it just doesn't fit the mood of the image in the background. It causes the words to seem out of place, and it really throws off the balance. Perhaps the most tried and true method for combing typefaces is to simply mix serifs and sans-serifs. I mean seriously, what could be more opposite than a serif and a sans-serif right? Oftentimes that's how I come to the conclusion of what typeface to use. If I'm stuck using one typeface, let's say the client forces me to use it, or I just can't get it out of my head, depending on the mood of the piece, I could just pair it with something on the opposite side of the spectrum. If I have trouble making that work out, I use my final fallback method. I reverse the roles, I switch them up. That's right, it's as simple as making the serif typeface your body, and the sans-serif your heading or vice versa. I promise you, nine times out of ten, you'll find that just by doing this, you'll be able to instantly recognize whether or not the typeface fits, and everything will just fall into place. I call this entire process my typeface psychology exam. You have to understand how each typeface affects mood and what attitude is conveyed by the pairings of certain typefaces to truly understand how to pair them together effectively in a project. That will come with time, so don't worry about getting that right off the bat. Okay, now let's take a break from rule making and actually explore some of the real world typefaces and how I pair them together in what I call the typographic process. First up is Proxima Nova Soft and PT Serif. Notice how the heading, Proxima Nova, is a casual rounded sans-serif font, while the body is a more sleek, serif font. I'd say this pair is almost like a reverse typography mullet, wherein the business is in the back, the body, and the party is in the front, the heading, get it? If you're not familiar with the term mullet, just do a quick Google image search and you'll quickly understand what I mean by that. Next up, Brandon Grotesque, another sans-serif paired with Jubilat. With this, the thin heading is contrasted with the thicker serif body copy, making it easy to see the difference between paragraph titles and paragraphs. Here's another use of Proxima Nova. This time though, it's not the soft style but the regular sans-serif version paired with Adelle, a thinner serif font that compliments it nicely but doesn't take away from the boldness of the heading. Next, one of my favorite examples of keeping it in the family. Here I've used Gotham for both the heading and the body copy, but I varied the weight in such a way that it almost doesn't seem like the same typeface. Notice how thick the headings are versus the small, slender body copy. Next we have an interesting pair of Ambroise Francois and again Proxima Nova. Notice this time however, that Proxima Nova is the body, not the heading. This is a case where switching the serif and sans-serif pair worked out well for me. The heading conveys elegance, while the body is subtle and legible. Next up, a fun pairing of Cubano and PT Sans. Cubano is sort of a sans-serif, fun, rounded font, and PT Sans is a very easily readable body copy. This promotes a really bold fun heading with an easily readable line of text underneath it. Freight Sans Pro and Tisa Pro, both very easily readable fonts, but when we make Freight Sans Pro extra bold and accompany that with a thinner version of Tisa Pro, you have very nice contrast and an easily readable headline and body. Garamond is another typeface that lends itself to both body and heading areas. In this example, I've used Garamond Bold for the heading and plain old Garamond for the body. Much like Gotham, the difference in weights gives a clear definitive difference without causing too much confusion, I think. The next pairing offers another example of using Garamond in the body, but this time we have stark contrast between it and the League Gothic heading at the top. Finally, our last example, we have Futura as the heading and Tisa Pro as the body. Both are very simple, but they work nicely together. Now, those are just a few examples I try on a regular basis. If you're still stuck on what typefaces to combine for your projects, I highly suggest checking out a new site, the folks at Typekit put together, simply called Practice. You can find it by going to practice.typekit.com, and they have several articles and practice exercises to help you better understand the psychology of typography. You should also check out chapter one of Ina Saltz's Foundations of Typography course, where she discusses pairing typefaces. Ina has some great insights on how and why you should combine certain typefaces, so I recommend watching that video for sure. Ultimately, it's up to you what typefaces you choose. Just remember, it's not a small decision. You should invest the time and effort to make sure you get it right.

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یک شنبه 6 خرداد 1397 - 9:47 AM

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آموزش کامل تایپ ایندیزاین Adobe InDesign typography

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آموزش کامل تایپ ایندیزاین Adobe InDesign typography

اکنون وقت آن رسیده تا برخی از قوانین زمین را برای تایپوگرافی انجام دهیم. در حال حاضر این قوانین لزوما قوانین سخت و سریع توسط برخی از دیوان عالی تایپوگرافی تنظیم نشده است، اما بعضی از دستورالعمل هایی که من در کار خودم دنبال می کنم. 15 قانون وجود دارد که من با آن روبرو میشویم و هرکدام از آنها را برای شما در نظر میگیریم. شماره اول، همیشه سعی کنید از آنچه که من با قلم های کلاسیک می نامم استفاده کنم. اینها نوعی سادگی و درست هستند که خوانایی و سهولت خواندن را تضمین می کنند. برخی از قلمهای کلاسیک، البته، Helvetica، Gill Sans، Garamond، Gotham، و Baskerville، فقط برای نام چند. برخی از اسامی که در اینجا روی صفحه نمایش می بینید را حذف کنید و اطمینان حاصل کنید که آنها را بر روی کامپیوتر خود بارگیری کرده اید. اگر شما آنها را در رایانه خود نداشته باشید، در نظر بگیرید که سرمایه گذاری در این تایپ فیس بوک ها، زیرا به نظر من، این بیشتر از هر نوع قلم دیگری از آن استفاده می شود. در حال حاضر در حالیکه ما در مورد سرمایه گذاری در تایپوگرافی هستیم، اگر شما از یک منبع غیرقابلقبول از تایپهای خود استفاده میکنید یا سعی میکنید آنها را به صورت رایگان آنلاین پیدا کنید، شما واقعا خودتان را خدمت میکنید. Oftentimes, the free version of a font that you find online might actually contain a different font or it may have viruses or other malware that could harm you and your computer. So, if you are going to use these typefaces, take the time to find them from a reputable source and then make the investment. It'll be well worth it, I promise. Alright, rule number two. Limit the number of typefaces that you use in your design projects. At first, I'm gonna recommend that you not use more than two typefaces in any project. Now, as you get more comfortable with typography and how different typefaces react in relationship to one another, you can begin to add in that third typeface. I'd be careful going over three though. That can cause an inconsistent look in your design and that's never a good thing. Also try to avoid typefaces that are really similar to one another. You might think that this creates consistency but it actually does the exact opposite and it can make your design seem messy. An example of this would be using something like Garamond for your headings and Times New Roman for your body copy. The typefaces are different, yes, but not different enough to create any contrast, which is a must have in headings and body copy. Number four, avoid using all caps. Not only does this convey, in the modern age, the sentiment that you're yelling at your reader but it can also be very difficult to read. Large bodies of text set in all caps are very easily blended together. Take a look at this example right here. See how this typeface has been set in all caps and it just kind of bleeds together? You have trouble reading that at first? Imagine that on an entire page of body copy that you're trying to read. Whew! Man, that would be tough. Remember, we're communicating with our audience here and we want that communication to be loud and clear at all times. Now speaking of clarity, make sure you use a font size that passes the legibility test. Many times novice designers will sacrifice readability to achieve certain affects or convey a sense of disparity in their designs. But, this is usually by design, and it's not meant to be readable necessarily. If you're trying to get someone to read something never go below 10 to 12 points in type. Trust me on that one. Look at this screen right here. Can you read that? I can't. So, your reader won't be able to either. Now while we're on the subject of size, never mix different sizes or weights inside of your designs either. This causes an inconsistent appearance and people will be more distracted than they are attracted to your overall piece. Not to mention the fact that using different sizes and weights in a single line of text can make your body copy look like a ransom note, ha ha ha. Now we'll get into kerning a bit later but keep it in the back of your mind as you lay out your type. Kerning is the space between two characters and having well-kerned type can truly make or break a design, and especially when it comes to type for logos and headings. Take a look at this example here. This needs some serious kerning work, obviously. Your reader won't be able to read any of it because the word kerning is so far spaced out and the word important is just sitting right on top of each other. Now this is, of course, an extreme example but it hammers home the point. You need to make sure that the spacing in between each character of type looks its best at all times. Number eight, make sure your typefaces create a consistent mood for your design. Don't start off with a rustic western font and then move to a modern script font and then follow it up with a basic Sans Serif, for instance. It's fine to mix different classes of typefaces. In fact, I encourage you to do that. Just be careful and make sure they fit with one another. Like, for instance, Minion Pro for a heading and Myriad Pro for a body copy. Doesn't that look much better? Yeah, I think it does, ha ha. When you're setting your body copy make sure to pay close attention to the alignment of your text. Yes, there are cases where using different justification methods will work, but for the most part, flush left, ragged right, is what people are most accustomed to and, thus, prefer when they're reading long bits of text. Let's take a look at this example here. This is text that is justified to the left. Notice the inconsistent spacing between several of the words. That can be hard for people to follow in some cases, whereas, if we look at this where it is flush left, ragged right, everything flows together naturally, the same way we would see in a book or a newspaper, making it easier for the reader to follow. Number 10, create contrast. This is one of the most important ones, in my opinion. You should never choose a color that blends with your background. Always make sure that there's a clear distinction between the text and the background elements. People need to know where one thing ends and the other begins. This example here is a great example because I've got light grey background, light grey text. You may not even bet able to see the text in the video that you're watching because I blended them together so well. This is something that I see all the time, unfortunately. People think that this creates kind of like a minimalistic type look. It doesn't. Now look at this next example which is the same typeface on a different colored background with a different color of text. Doesn't that look much better? Creating contrast will make it clear you need to know where the background ends and the typeface begins. Contrast is key. Number 11, maintain what I call typeface integrity. Don't arbitrarily scale or stretch a typeface to make it work. If you need a taller or wider typeface, consider changing to a different typeface altogether. Please, don't do what I'm about to show you. Just don't do it. Don't take a typeface and do this. Do not stretch type. It just doesn't work. If you need a taller typeface, one is available, I promise you, in the same classification of type that you're looking for somewhere out there. Use the resources at your disposal and find that typeface. Otherwise, you run the risk of making your design look like it's messy or that it was rushed or that you just couldn't find the right typeface so you tried to make do as best you could. Not the way to go about it. Number 12, always try to avoid widows and orphans. Now, what exactly are widows and orphans, you might ask? Well, widows are lines of text from a paragraph that transition onto the next page and are left standing all by themselves. So take a look at this example here. This little book that I have open, at the very top, the highlighted part at the very top of that second page, that is a widow. And orphans are single words that wrap to the next line of text in a paragraph and they're just left hanging there. So right there, the second example that's highlighted, that is an orphan. This is one of the first signs of unprofessional typography. So you want to avoid it at all costs by adjusting your paragraph settings accordingly. Now speaking of paragraph settings, you always want to make sure that you keep the spacing of your paragraphs consistent. Each paragraph should be easily identifiable and consistently spaced from the paragraph surrounding it. Now, every now and then, you're also gonna want to emphasize certain words or phrases in your design. When that happens, don't use an underline. Instead, use italicized text. This is a more elegant and professional way of drawing attention to your point of emphasis and your viewers will appreciate it more, I think. Take a look at this example right here. I really want you to understand this. Whereas, the rea-, it's almost like the word itself is kind of like I really want you to understand this instead of just putting an underline underneath it which may or may not convey exactly what you want. Finally, one of my biggest pet peeves in typography, using real dashes and quotations. Double hyphens and straight quotes, those are for amateurs, folks, so we don't want to do that. They both have very distinct purposes and many people take them for granted. Don't use symbols for inches and feet instead of curly quotes. And, please, never use two hyphens to simulate a dash. Just don't do that. Alright, those are my 15 rules in a nutshell. But I do have one last proclamation and it involves a set of typefaces that I honestly wish people would just avoid. But, I understand people are gonna use these so, okay. I'm going to be a bit of a type snob here though, anyway, and say that I forbid you to use any of the following typefaces. They are Comic Sans, Papyrus, Curlz, Playbill, and Chalk Duster. Now, look, these typefaces, they had a good run. And I'm sure they served people well at some point in their life. But that life now, sadly, in the world of professional design, is over. If you want to be taken seriously as a designer, just don't even think about using any of these. Ever. So, now why do I have such a beef with these typefaces here? It's not necessarily that they're bad typefaces, that all did serve a purpose. For instance, Comic Sans was actually developed for the writing inside of comic books. The problem is that they became sort of a novelty over the years and they were really overused in unprofessional settings, like people doing their own at-home greeting cards, and things like that. Professional designers now see all of these as a big red flag. So it's not so much that you can't use these, it's just you shouldn't use these if you really want to be taken seriously within the community. Remember, typography should be bold, beautiful, and memorable. Take the time to immerse yourself in the decision-making process when it comes to your type. And while I've set forth a lot of rules for you in this movie, also remember that rules are made to be broken. But only once you truly understand why the rules were created in the first place.

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یک شنبه 6 خرداد 1397 - 9:47 AM

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