دانلود 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.