Font and font compositions. Font and font compositions Four groups of fonts according to Favorsky

Vladimir Favorsky

our Russian font system - one of the European systems, going partly from the Greek - in the expression and design of its functions very much uses vertical and horizontal with all their properties. Moreover, we can say that both the horizontal as a line of uniform movement, and the vertical as a limited, stopped line, which can have its own specific internal structure and hence its own specific scale, reveal all the basic properties in our font.

The horizontal forms the basis of the line, the function of movement along the text, in particular along the line, uses the properties of the horizontal, its uniform movement, and naturally and enthrallingly follows it along with the letters. On the other hand, the vertical of the column also gives us the integrity of this column, when we perceive it statically, and, reading line by line, we descend lower and lower along it, and, by the way, this movement down vertically, going as if against flow coming from below, and thus having an emphasis all the time, can always be stopped. (This is similar to how a steamer, for example, on the Oka River, going against the current, easily stops and delays the course and unloads a passenger, but going with the current, often refuses to do so.)

But the vertical with all its properties as a limited and scale line works in the font mainly as a stop. And in the book, the vertical of the title and the vertical of the column, and in the letter, the vertical of the trunk of the letter works as a stop.

The design of these two main points in the type is the main thing, and in this the vertical and horizontal play a primary role.

V. Favorsky. "Font, its types and the relationship between illustration and font." Cover. 1925. Woodcut.

If we take the words of our language, then it is clear to everyone that they are not indifferent to their content and are for the most part living verbal images of the things they denote.

Aren't the letters also somewhat genuine images of those vocal gestures with which we use the throat, palate, teeth and tongue to pronounce the sound we need?

In this regard, vowel and consonant sounds can be interpreted in different ways. The vowels are much simpler in muscular gesture; here the voice tube is mainly involved, which is either compressed, as in the sound "I", or it is taken open in its very depth, as in the sound "A", or lengthened by the mouth in the sound "O", or lengthened by the lips in the sound "U" ... Therefore, it is natural that this is reflected in the letters.

V. Lazarev. "Nikodim Pavlovich Kondakov". Cover. 1925. Woodcut.

In the letters denoting vowel sounds, a kind of voice gesture is depicted - this is clear in "O", clearly in "U", clearly in "I", if it were depicted as one-stick; somewhat less clearly in the letter "A", and in the letter "E", especially if you draw it as a reverse "E", as if in profile, the entire vocal apparatus is depicted - both the mouth and the tongue.

The situation with consonants is much more complicated, and it is more difficult to guess the pictorial moment there. But we, in any case, can take advantage of the distinction between vowel marks and consonants. The first ones in our type are mostly gaping, and the second ones are mainly based on boles, except for a few like "Z" and "S".

"The revolutionary poetry of the modern West". Anthology. Cover. 1928. Woodcut.

By the way, in ancient scripts there was a significant difference between vowels and consonants.

In the Latin script, written on architectural monuments, the vowels were wider and more gaping than the consonants, and in the ancient Slavic, the vowels, on the contrary, were compressed, the preference turned out to be consonants, which introduced a kind of color into speech, and vowel modulations could be considered as quantitative changes ; therefore the vowel signs were compressed, except, perhaps, "U", and the consonants were often even very wide, like "M" and other letters.

"A word about Igor's regiment." Binding title. 1938. Woodcut.

Our language is characterized by an open sounding of vowels, and therefore it is natural to pay attention to their difference from consonants and in their graphical writing. If you do this, then you can understand the outline of the syllable as something whole.

It should be noted here that sometimes they tried to give letters of the same width in the font as possible, but in ancient fonts they never tried to do this, and this would not be to the good of the case, since the expressiveness of the font with the general unity of scale, style and elements, both then: boles, arcs and branches - is based on the difference between letters, on their different expressiveness, and if we can not only distinguish each of them from each other, then it is all the more useful to graphically distinguish vowels from consonants.

Our consonants add a lot of vertical masts to the font. We have many letters with one mast, but there are also two, there are even three - like "Ш" and "Щ"; and even in the vowels the mast takes up some place - as in "I" and in "Y" and "E"; and in a soft and hard sign, and in two-vowels - as in "Yu" and "I".

Moreover, for modeling the line, it is necessary to use the gaping of the vowels in contrast to the verticalism of the consonants.

I have already said that in building a typeface it would be very important to work on the graphic expressiveness of a syllable, and not just a single letter. If this is done, then there is an opportunity to respond to the rhythm of a given word with a graphic rhythm of letters, with their gestures, gaping, stops, striving further, forward, concentration of boles in the roots of words, where several consonants meet, and rarefaction in places of vowel signs, more air in vowels and vowel endings.

N. Bromley. "Descendant of Gargantua". Cover. 1930. Woodcut.

If we take the letter "K", then on it we can very clearly see the use of the mast as a stop and the gestures of the branches going up and down from it. The compositional meaning of this construction is that we, having strengthened ourselves vertically, at the same time move on.

Gestures go in a diagonal direction up and down, the letter, as it were, steps and raises its hand. Gestures are similar to those of a tree or a person, and their diagonal direction preserves the integrity of the letter, and horizontal movement is performed in a complex, not primitive manner. If we attach to this sign the vowel sign "O", and after - "U", then it seems to continue the gesture of the letter "K". The gesture will come as if from the same trunk and thus make the syllable a single organism. The same can be imagined with other consonants. With some, the unity of the syllable will be successfully built, with some less successfully, but nevertheless, having achieved the syllabic expressiveness of the outline of the word, it is possible to achieve a graphic rhythm corresponding to the verbal rhythm.

"The fourth exhibition of sculpture ORS". 1931. Woodcut.

But let's move on to font construction. The font can be of various designs, and, in addition, the letter, constituting a black silhouette, receives a color body, as it were, and this or that modeling of black, changing the design, at the same time puts the letter in a certain relation to white, moreover, since the letter models black, and thus models both white and black, as if growing into white.

The letter sinks into white and arises from white (the letter looks like a fly in milk). Otherwise, the letter would lie dryly on the sheet in terms of color and, as it were, could be thrown off the sheet of paper.

Stamp of the Russian-German Society "Culture and Technology". 1929. Woodcut.

Different eras and different styles have produced different fonts in terms of design and color.

Without going too far into the history of type, let's start with the 16th century. The book had an illustration then had a longitudinal linear engraving or later copper engraving, and the letter itself was often cut on wood or engraved on copper. The font was based on boles and arcs; the stems were made with undershoots, which is generally very important in the type, since it limits the vertical, makes it objective, does not allow it to sink into white, and turns the stem into a column, as it were. Moreover, the shape of the undercut at this time ended quite sharply. The stem seemed to be pressed somewhat into the white color. Such thin-ending undercuts with a not very thick stem made some color contrast, however, disappearing when printing, when, when the letter was pressed into the paper, the sharp edges were somewhat rounded.

A font based on such a stem can be called voluminous, since it does not give a particularly deepening black color, and if the undercuts are rounded off a little, then it completely objectifies the stem and gives the stem, although it is modeled, but as if a single local color (in the figure - A).

For me personally, often, when combining a similar font with a three-dimensional pattern, due to different decisions in the illustration, I had to round the undercut in the font either more or less and thus make the letter heavier or lighten it in color.

Such a font and arcs builds more or less correctly, just as a steel spring would bend, and therefore small arcs, as, for example, in "C" and "B" and others, will take up much less space than a large arc "C" or "O".

The modeling of arcs should also not be very contrasting, since then, naturally, the unity of the local color of the letter will be broken.

It is essential, of course, where we attach arcs or branches to the trunk. Attaching higher or lower, we give the letter a certain scale.

An example of a "volumetric" typeface according to Favorsky's classification is the Academic typeface. Catalog of hand and machine fonts. Ed. "Book". Moscow. 1966.

Where should the waist be at the letter "B", etc.?

Apparently, only not at the geometric middle, since such for the vertical visually, in fact, does not exist. The waist of the "B" should be higher than the middle, and therefore the upper arch will be smaller than the lower. The moment, how much higher than the middle of the trunk gives, so to speak, the waist of the letter, will decide the scale of the letter, its slenderness or squat. And if this is determined, then in all letters where the waist is, it should be given at the same height. So, in "C", "B", "Z", "I", "b", "b", "X" and, possibly, in the jumper of the letters "H" and "U", but in "E" , "P" and "H" it can be below the middle, since otherwise the arcs will be very small, and the tongue in the letter "E", if it is lower, then it sounds more expressive in the construction of the letter.

"Art" magazine. Cover. 1928. Woodcut.

All this single division of the vertical should not be carried out mechanically, some variations are permissible and even necessary. True, I strongly lift up the waist at the letter "K" and thus, perhaps, make it too slender, but this is for the sake of the lower branch, which is then very expressive, and in Dürer's font the letter "K" is already very big-headed.

Albrecht Durer. Scheme for constructing the Latin capital letter K. 1525.

It should be noted that in such a font, that is, a volumetric one, it is possible to highlight contour lines, as, for example, in the letters "H", "U", "A"; they can form, as it were, the middle between the thickness of the trunk and a thin line.

The diagonal of the rise and the diagonal of the fall are well distinguished in color, and it is natural that the lightness corresponds to the diagonal of the rise, and the diagonal of the fall is loaded with color.

Therefore, the letter "I", depicted as an inverted Latin letter "N", sounds very unpleasant in our font.

In a volumetric font, which can also be called classic, vertical and horizontal are comparable. This emphasizes especially the structure of arcs in letters such as "O" or "C". It must also be said that "O", striving for a circle, is nevertheless constructed only as a wide oval, and not as a circle. And, besides, "O" and "C" are made slightly higher than other letters, and also "A", if it ends sharply at the top.

G. Storm. "Works and days of Mikhail Lomonosov". Title page. 1932. Woodcut.

There are pictorial surfaces created vertically and horizontally, in which both vertical and horizontal are commensurate; the horizontal is, as it were, the same fallen vertical, but there are surfaces in which there is no such commensurability. We can, as it were, create a pictorial plane, contouring it with horizontal and vertical lines, stitching it all with a lattice of these lines, thus obtaining, as it were, graph paper. But you can imagine a plane created by the movement of a vertical of a certain scale to the sides to the right and to the left, and stopping the vertical from the right and to the left creates vertical boundaries, and horizontal ones are created by the movement of the ends of the vertical. On such a pictorial surface there will be no commensurability of vertical and horizontal, it will be like a continuous series of verticals. We have such a pictorial surface in Byzantine and Old Russian art and, for example, in Greco and some others. (A plane constructed in the same way by a horizontal line is possible.)

Let's move on to a typeface that is built on a similar vertical surface. It is a 19th century typeface, sometimes referred to as a romantic typeface.

The font is the most colorful, its bole is quite wide, sometimes even very, has thin sharp undercuts, sometimes going straight to the stem, sometimes rounded.

The color of the stem and arcs contrasts very strongly with the undershoots and hair lines, and therefore the black, especially in the stem, goes deep into the paper, into white, and the antennae of the undercuts keep the black on the surface (in the picture - B). The comparison of a letter to a fly dropped into milk is especially suited to this type of font. I must say that the pressure of black on white in this font causes a lot of activity of white, which either turns out to be light and abstract, sometimes seems very massive and has a relationship with the letter all the time, changing itself under the influence of black and changing black in turn.

We see a similar meeting and relationship between black and white in woodcut illustrations in romantic books, in illustrations by Gavarnie, Daumier, Granville. And there, the foreground is often black, which lightens, turns gray and experiences the attack of the white coming from the background to her.

Illustrations by Jean Ignace Isidore Gérard Grandville (1803–1847) for Jonathan Swift's book Gulliver's Travels (1838).

Illustrations by Isidore Gérard Grandville (1803-1847).

Volumetric letter ( A) is very specific. Not so with a romantic letter ( B): it is spatial, it is often very compressed; its verticalism in the structure of its arcs makes it, as it were, an element of a spatial series, and not an independent object.

Arcs and branches in this font are not built according to the natural bending of the spring, but as if they are compressed and by themselves next to the vertical stem create a kind of vertical pattern, like "O" and "C". And here the letters in different typefaces can be wider and narrower, higher and lower, but in one typeface they obey the same spatial order.

Of course, in this type of font, it is possible to deviate towards a more substantive type, which we meet in the typeface of the Empire era.

An example of a "romantic" typeface according to Favorsky's classification is the Elizavetinskaya typeface. Catalog of hand and machine fonts. Ed. "Book". Moscow. 1966.

There is also a type of font that was often used in the 20th century, but which used to exist along with the spatial one. This type is associated with a poster, ad, photographic illustration and textured illustration, characteristic of flat cubism that developed in the 20th century, and in a photomontage and children's book in color.

This font is very colorful, without any undershooting, almost does not simulate black, and therefore white, and gives only a structural element ( IN).

Such a letter also loses in objectivity, it lacks a face, individuality, and it is, as it were, just a piece of material, which suits the optical modeling of gray in photography or the textures of color illustrations.

A skeletal letter is possible and, as it were, opposite to it, where there is no longer any modeling of black and white, but there are even lines that outline the scheme of the letter ( D).

In these two types of typefaces, the arcs often lose all memory of the spring and are often squared.

The magazine "USSR in Construction", No. 10, 1935. Artist - V.А. Favorsky

Accidental Tagirova. An experimental typeface based on Favorsky's theory. “The draft font takes into account the statements of V.A. Favorsky about the possibility of the existence of typesetting stripes with uneven color saturation of signs. Faik Tagirov. “The art of type. Works of Moscow Book Artists ”. 1959-1974. M .: "Kni-ha", 1977.

Boris Grozevsky, assistant to Vladimir Favorsky at VKHUTEIN (1922-1930). Cover design for the edition of the International Agrarian Institute, Moscow, 1928

“Typing one word in different fonts, Comrade Grozevsky believes that he managed to get rid of decorativeness and introduce such a very important rationalistic moment as the semantic dismemberment of the word. In our example, the words "people", "agrarian", etc. are highlighted. " L.E. Kaplan, Contemporary typesetting cover, 1930

These are the basic font types. Some kind of middle between them, sort of hybrid types, are possible.

Both in architecture and in type, the architectonic and structural moment is so strong that any search for something completely new, as it were, unconventional, leads to the emergence of such styles as the Art Nouveau style in architecture and type. In type, this leads to the fact that the letter is distorted, its waist is lifted either incredibly high or incredibly low, and the letter is disfigured. In type, as in architecture, it is possible to look for something new only by developing the classical basis that determines the type structure, and to look for greater functional expressiveness in the same basic qualities of the type system. It is more difficult to get away from the stem, from the arcs, from the vertical and horizontal lines in the font than in architecture from a column, or a pilaster, or a pillar, so that peculiar orders live in the font, repeating and varying.

Samples of fonts of the printing house of Mozhaisk PEC. Mozhaisk. 1926.

Hence the question may arise: is it possible to connect different typefaces, as in architecture there are different orders? Apparently possible, but related.

In this respect, it seems wrong to me when we have bold and bold variants in a classic typeface. A volumetric or classic font is extremely substantive, has a clearly expressed horizontal and vertical and its own scale, and when a letter is compressed in a bold version or in a larger size, the scale is thereby violated. Therefore, the connection of a volumetric font with a spatial font is impossible, but the connection, for example, of a volumetric font with a skeletal font repeating the same proportions, is quite possible, and it is also possible and often encountered in a spatial font of fonts of different scales, different proportions and the introduction into the composition along with spatial textured poster font. This can often be seen in the title compositions of a romantic book.

B. Bernson. "Florentine Renaissance Painters". Cover. 1923. Woodcut.

I've already talked about the connection between type and illustration. You can dwell on this issue in more detail.

When you have a letter of the classical type in your composition, which lives on the sheet as a creature, gestures, moves, then, drawing an illustration, you let the figures live on the same surface of the sheet, in this space, together with the letter. The figures do not have an immediate background - the whole illustration consists of objects, the letters and figures combine the same properties. Shapes are modeled with light and shadow, so is the font; the classic volumetric font itself gives in general a cut-off impression in relation to black and white.

Otherwise with a spatial font. It is very difficult to enter a shape directly into the white field; usually a figure or figures with a background are introduced into a romantic book, and the whole image does not end with the frame itself, and the landscape gradually fades to nothing and outwards gives a thin edge and lies directly at the level of the paper sheet, so that the illustration is built in a lenticular manner: in the middle there is depth, and to the edges it fades away.

A. Pushkin. Collected Works. Schmuttitul. 1949. Woodcut.

But it is also possible to combine the illustration with the font and through the frame in the proper sense. The combination of a poster font with a silhouette image is of course also legal. And always in illustrations it is important to maintain the style of the font and image.

Initials to the story of Anatole France "The Judgments of Abbot Jerome Coignard". 1918. Woodcut.

First of all, how to build a single word? The word often in the title makes up the entire line, and sometimes the entire content of the title. This leads to a special approach to it. When we draw a word, we can take into account in it a root, a lifting vowel or a preposition and an ending. And, taking into account all this, we can partly increase the load of color and build more closely the letters that give the root of the word, and defuse the beginning and especially the end in color, and sometimes develop it in such a way that the word will no longer hold only the line, but live on everything sheet, like a monogram or something similar would live.

The same attitude can be applied to a word in a line where it is included in a whole phrase, but more cautious.

In a title, this can help emphasize the main axis around which the title is usually built. The title can be simple, uniaxial, but it can be complicated by the introduction of new font groups and new axes subordinate to the main axis. The main axis can, as it were, double and even triple.

W. Shakespeare. "Hamlet". 1940. Title page. Woodcut.

This is all, apparently, that I can briefly say about the font, how I understand it and how I practically implemented it.

In the end, I wanted to touch on the Russian ancient script, charter and semi-charter.

Our typeface today is built in many ways similar to the Western classic type. But western typeface antiqua with gaping vowels, with round arcs, with external elements in line text, very often gives a beautiful black and white impression with varied shining white in the lines of words. Our font is largely based on the ancient Russian font and therefore does not have almost external elements and retains a lot of boles for letters that do not have boles in the Western font. Hence, the color principle inherent in the Old Russian charter enters into our font, and the color tendency is mixed with the cut-off.

V. Favorsky. Invitation to an evening in memory of P.M. Tretyakov. Moscow. 1923.

Sometimes the thought arises to return the font to the color principle, taking something from the ancient font, or, conversely, to strengthen the chiaroscuro principle in it. But this is such a complex and special question that, while continuing to think about it, I do not dare to dwell on it in detail now.

Publ-li-ko-va-but with co-brightening according to from-da-niyu: Fa-vorsky V.A.On art, about a book, about vu-re. M., 1986. First pub-li-ka-tion: About graphics as the basis of book art. 1954-1960 // Art of books. M., 1961. Issue. 2. Re-dac-tion blah-go-da-rit for help in the preparation of the publication Iva-na Sha-hov-sko and Mi-shu Belet -who. Ini-tsi-al - An-drey Be-lo-no-gov, Yana Kuti-na.

Same as the main stroke - the dominant vertical or oblique stroke at the base of the sign. In rounded characters, the main stroke is called a flow (maximum thickening of the stroke). - Approx. ed.

V. A. Favorsky calls serifs so. - Approx. ed.

Lesson topic: “Letter - line - text. The art of type "Grade 8 Lesson topic:" Letter -
string - text. Art
font "
8th grade
2.
6.
Lesson objectives:
1.
A brief introduction to the history of the font.
Acquaintance with the letter as a pictorial and semantic symbol of sound.
3.
Style features of fonts.
4.
Construction ("architecture") of the font, typefaces.
5.
The relationship of the font and the content of the text.
The primary formation of skills for creating a composition of letters of various
typeface (student's choice) followed by writing a short text.
The author of the draft lesson:
Fine art teacher Vilchinskaya L.S.

Font history

Communication of people using written signs -
font is one of the greatest achievements
humanity. The word "font" - (schrift) - German
origin and in translation means - a letter,
lettering. A font is an alphabet in which
the image of letters, numbers and other written signs
has a general pattern of construction and a single
style. In other words, the font is called
graphic form of a particular writing system.
A typeface sometimes lives for tens and hundreds of years, developing
independently and together with all the art of their
time. The font is necessary for people to convey
information in writing in time and
space.

Font history

Ideographic
A rock
Alphanumeric
with runes
letter
(Old Scandinavian
(cuneiform
Pictogram
(Latin
and Egyptian
font)
letters)
hieroglyphs)

Font history

Alphanumeric writing appeared in the second millennium before
AD In it, signs meant individual sounds (phonemes). Moreover
signs depending on pronunciation could be different
convey the sound features of the language. In alphanumeric
letter with the help of graphic signs could be transmitted
human speech.
Over time, graphic signs have improved, on
one was replaced by others, simpler in form,
transmitting a new value. The appeared alphanumeric
the system became the basis for the writing of many peoples of the world,
the language specificity of which is reflected in
the phonographic composition of their alphabets.

Style features of fonts

Tape serif
Egyptian font
Grotesque (chopped)
Russian ligature
New serif
Italian
Standard
Decorative
Stencil
Handwritten italic

Typefaces

Group
chopped fonts.
A group of fonts with barely visible
serifs.
A group of media fonts.
A group of ordinary fonts.
A group of slab fonts.
A group of new low-contrast fonts.

Four groups of fonts according to Favorsky

Construction ("architecture") of the font

Font modification.

Shading
letters.
Application of rounded or straight
undercut of different thickness.
Jumping letters.
The use of hollow letters.
The letter is as if on glass.
Writing letters using only
volumetric shadow, etc.

10. Relationship between font and text content

1.
2.
3.
4.
5.
6.
The outline of all the letters of the text and the stylistic unity of the composition
are achieved in font graphics by a combination of the following
conditions:
The style of all letters of the text must correspond to the style
features of the font used.
The letters of the same name throughout the text should be
write the same.
The shape, size and position of the serifs are respected for all letters.
Spaces of the same name in the text must be the same.
Multi-colored variegation should be avoided in the coloring of letters.
Good type composition is always balanced and consistent.

FONT AND FONT COMPOSITIONS

Incorporating type into a pictorial composition is a very common and challenging task. After all, type is a very peculiar art. First, it is conventional, symbolic, and not pictorial. Secondly, the type composition is not only viewed as a whole, but is also read in a specific order, line by line, top to bottom and left to right. Any inscription has a certain dynamics and sequence, is deployed not only in space, but also, so to speak, in time.

All this makes the composition of the font with the image very specific, distinguishing it from most types of decorative and visual arts. Meanwhile, these arts constantly collide, combine in compositions of a synthetic nature, where the font, ornament and object image turn out to be parts of one whole, live together and do not interfere with each other.

The designer should be good at associating a font with an ornament or image of a very different nature. And for this, just mastering the principles of font, ornamental and pictorial composition, taken separately, will obviously not be enough.

The visual and font composition has not only differences, but also common features. They help to bring them to a "common denominator". The image and font can be subordinated to a general spatial rhythm, close to plastic principles. Signs of the artistic style, artistic features of a particular time are equally manifested in the typefaces and drawings. The designer has at his disposal various ways of visual subordination of the font to the image, or vice versa of the image to the font. The construction of an integral ornamental-type composition is facilitated by the fact that the type and the ornament are two-dimensional, planar and presuppose a clear rhythmic organization. Having found a common rhythm for letters and patterns, similar plasticity, close color saturation, the designer can achieve the fusion of type and ornament into a single image.

2. Font compositions

The expressive plasticity of the font, its rhythm can be used in purely decorative compositions. Sometimes the font also retains the meaning, as it were, of the cipher text, like the Old Russian ligature.

The most common way of combining a font with an image in a single composition is that the drawing and inscriptions are assigned independent, clearly separated parts of the plane. And here, too, there are nuances: the image fills the entire plane of the sheet, and a frame, as if superimposed on it, highlights the inscription or the image occupies some part on a neutral surface and is separated from the text by a frame, etc.

An interesting effect can be obtained when a three-dimensional photographic image is visually connected with a flat font and obeys its plane. This can be achieved by translating the photograph into a contrasting black and white form, the so-called. photographers.

The planar schematized poster-type drawing is easily linked with the inscriptions, interpreted in the same plane, with the letters of a simplified drawing, as if stuffed on a stencil.

The unity of the figurative-type composition is achieved in those cases when the drawing obeys the movement of the lines of the text, is included in their rhythm. Such an image is not built in depth, but directly on the plane along which the movement of the figures is directed. Favorsky, who specially studied the laws of the relationship between the image and type, called such a plane a "moving" surface.

One of the ways to closely merge the font with the image is called "calligram". This is a kind of graphic game, forcing the text to fit within the outline of the picture and create an illustration by its location.

3. Classification of fonts

Fonts are divided according to their purpose and field of application into book, newspaper, poster, cartographic, decorative, advertising.

The choice of a particular typeface is determined by the publication itself, its purpose and the reader's address. In a popular science edition, some fonts are appropriate, in a fiction edition, others. The choice of font also determines the printing method. All this has led to a wide variety of fonts that differ in a number of characteristics. There are several characteristics of fonts:

Font size (font size is the height in typographic points of a rectangle into which any character of the alphabet of a given size can be inscribed, taking into account the upper and lower clearance): text (up to 12 points), title (more than 12 points).

Typeface (a set of fonts with the same pattern, but different styles and sizes). They have conventional names: literary, ordinary, poster, etc.

Typefaces (weight and thickness of strokes, height of characters and character of filling): light, bold and bold.

Slant of main fonts (deviation of main strokes from vertical position): straight, italic.

Font size (in normal fonts, the ratio of the width of the point to the height is approximately 3: 4, in narrow - 1: 2, in wide - 1: 1): super-narrow, narrow, normal, wide and extra-wide.

The way strokes are filled: normal, outlined, inverted, shaded, shaded, etc. "Computer" font is a file or a group of files that provides text output with style features of the font. Typically, the file system that makes up a font consists of a main file that contains a description of symbols and auxiliary information and metric files used by applications.

4. Designers

JOHN BASKERVILLE.

English typographer and publisher (1706 - 1775). Baskerville fonts were distinguished by their elegance and increased contrast. This required a higher quality print. He can also be considered the ancestor of modern typography: pushing illustrations into the background, Baskerville attached great importance to the quality of the typeset, lettering, convenient spaces and harmonious leading. We now call it all collectively "readability".

EDWARD BENGET.

American designer, author of over 500 typefaces. In 1953 he became the associate director of Esquire magazine, after which he founded his own design studio. Since 1962 he has been working for Photo-Lettering Inc. as Chief Typography Designer.

Works include nine typefaces in the ITC collection, as well as logos for publications such as The New York Times, Playboy, Reader's Digest, Sports Illustrated, Esquire, Photoplay and Look.

JAMBATTISTA BODONI.

Italian typographer (1740 - 1813). Bodoni is considered to be the discoverer of "new serifs", i.e. fonts with thin serifs, contrast. Already during his lifetime, Bodoni was considered the leading font master in Europe.

Bodoni makes his first typefaces based on the works of Fournier, whom he sincerely admires. However, he does not get tired of experimenting and by 1798 he created the typeface, which we now call after him. It creates a shimmery effect in the dial strip with its contrast and amazes with the beauty of the letters.

ALD MANUTSIUS.

Venetian publisher and typographer, humanist scholar (c. 1450-1515). The printer's Greek fonts were widely criticized and far from perfect. And the first own Latin cash registers were prepared only by 1495, for the book "On Etna" by Cardinal Bembo.

This typeface (now known to us as Bembo) was markedly superior in quality and legibility to its predecessors (such as Jenson). It immediately became a model of the classic Latin script and was copied for at least two subsequent centuries.

ADRIAN FRUTIGER.

Type designer. Around 1952, Frutiger's work (his History Of Letters brochure) is noticed by Charles Peñot, co-owner of the famous Paris foundry Deberny & Peingot. He recruits a young designer to work as art director and commissions him to adapt Paul Renner's Futura for use on Lumitype / Photon photosetters. However, Futura seems to Frutiger too geometric and soon the first sketches of a new Univers typeface appear.

It is characteristic that the typeface is prepared immediately in a large number of styles (21 styles), having five gradations in saturation and four in proportions. For the convenience of working with so many styles, the artist also offers a special digital signage system, which has become known as the Frutiger System.

It is necessary to ensure that the paint is of medium density: too thin and too thick paint is not suitable for work, from the position of the poster pen. To determine the density of the paint, a test should be made on paper. In the practice of type work, poster pens are also widely used. When working with them, you can use both ink and gouache. The gouache should be so thick that it could not only ...

All letters of this alphabet, numbers or signs. 1.2 Requirements for fonts Any printed publication as a whole must meet a number of requirements of a hygienic, aesthetic, economic, technical, technological and production nature. The correct use of the font is important. First of all, it must be beautiful and readable. Font economy ...

Their types. The second chapter presents the stages of work on the poster design for the "Fundamentals of Military Service" cabinet. The main concepts of the cabinet's stand design, the methods of compositional and color solutions, the rules and technologies for the production of stands are considered, the cost of the completed project is calculated. The appendix contains sketches of the stand. CHAPTER 1. THEORETICAL JUSTIFICATION OF THE STAND ...

Lesson summary

"Letter-string-text. The art of type ".

Objectives:

- to introduce students to the art and history of type;

- to give the concept of words and lines as elements of a plane composition;

- develop thinking, imagination, memory, holistic perception, observation, the ability to analyze.

- education of moral feelings and moral qualities of the individual.

Tasks:

1. Learn the history of the development of the font, understand how the font has changed from ancient times to the present day.

2. Understand different types of fonts.

3. To think up, develop, draw your logo.

4. To cultivate interest in art through independent creative work.

Lesson type: a lesson of "discovery" of new knowledge.

Equipment:

for the teacher: multimedia presentation on the topic “Letter - string - text. The art of type ”, test assignments for students, examples of writing letters, examples of using various fonts in the modern world, examples of how to complete the assignment.

TSO: multimedia projector, computer.

for students:textbook “Fine Arts. Design and architecture in human life ”. A. S. Piterskikh, G. E. Gurov. Moscow "Education" 2015, notebooks, art materials (felt-tip pens, colored pencils, helium pens), A4 format, illustrations of various types of fonts.

Lesson plan:

1. Organizational moment.

2. Setting the goals and objectives of the lesson. Motivation for learning activities.

3. Actualization of knowledge.

4. Primary assimilation of knowledge.

5. Initial check of understanding.

6. An individual creative task.

7. Reflection (summing up the results of the lesson, exhibition of works).

During the classes:

1. Hello guys. Sit down. Let's check the readiness for the lesson: we need a notebook, A4 format, graphic materials to choose from felt-tip pens, pens, colored pencils and, of course, attention.

2. Pay attention to the chalkboard. What do you see the letter "A". And what is this letter? You can even pronounce it in completely different ways (melodic, mysterious, audacious ...), and even write it. Has anyone of you wondered why it is the first letter in all European alphabets? Who invented to write it that way? What other letters look like and how they are combined with each other, how the same letter or number can be written in different ways and how these methods appeared. In life, we constantly encounter letters. The letters form words (font), different in character, like people: heavy, stocky, light, delicate, rounded, chopped, clearly readable, decorative ...

(presentation) In a notebook. We write down: day, month, lesson topic.

1. (slide). Letter - string - text. Font art.

2. (slide). Font - a graphic drawing of the outlines of letters and signs that make up a single stylistic and compositional system, a set of characters of a certain size and pattern (write in a notebook).

3. (slide). The history of the font is a pictogram, a pictorial or drawing letter in the form of rock paintings among primitive people.

4. (slide). Hieroglyphic writing appeared. The first books were made of clay. wrote the text with a wooden stick with a wedge (cuneiform). There was an alphanumeric letter, an alphabet.

5. (slide). The history of the development of fonts.

The first alphabet of literal-phonetic writing was created by the Phoenicians. This alphabet became the primary source of most of the world's alphabets; Greek, Latin, Cyrillic and others.

The Greeks improved the Phoenician alphabet by introducing vowel sounds - letters. His letter signs are very simple, have clear lines of the same thickness and consist of simple geometric shapes: a circle, a triangle, a segment. The ancient Greek alphabet was the first in Europe.

6 (slide). Any letter or hieroglyph is primarily an image. The letter traces its ancestry to a drawing. In ancient times, all information was denoted by drawings. Then the drawings turned into the first alphabetic characters, which became the basis for writing modern letters.

"Aleph"

"Alpha" "maim" "mu"

7 (slide) ... Glagolitic is one of the first Slavic alphabet. A number of facts indicate that the Glagolitic alphabet was created before the Cyrillic alphabet, and that in turn was created on the basis of the Glagolitic alphabet and the Greek alphabet.

8 (slide). Old Russian Cyrillic script. All handwritten and early printed fonts from the time of their inception and up to the end of the 17th-beginning of the 18th century are called Old Russian. The creators of the Slavic alphabet were brothers Cyril and Methodius, natives of the city of Soloniki. The Slavic language was their native language, and they received Greek upbringing and education. The merit of the brothers is that they first created an alphabet with clear and clear graphics of letters, based on the Greek script and supplementing it with signs denoting specific sounds of the Slavic language (hissing, whistling and iotated). They arranged the letters in a certain sequence, giving them a numerical meaning, which for many centuries have been designated by simple and ambiguous numbers. The new alphabet, which conveyed all the features of living speech, very soon became widespread not only in Church Slavonic books, but also in secular, business and ordinary writing. The greatest discovery of the 20th century - Novgorod birch bark letters testify precisely to the fact that writing in Cyrillic was a familiar element of Russian medieval life and was owned by various segments of the population: from the princely boyar and church circles to ordinary artisans.

9 (slide). The early calligraphic form of the Cyrillic alphabet is statute. The letters of the charter had almost square proportions and were distinguished by their straightness and angularity. They were located freely in the line, there were no spaces between words. The distance between the lines is equal to or slightly greater than the height of the letter. The statutory letter is quite time consuming to write. The drawing of the letters of the charter required frequent changes in the position of the tool. Thus, they were drawn with a pen rather than written. The ends of the letters were formed with short serifs, others in the form of triangular nodules or thickenings.

10 (slide). A variation of the Cyrillic letter is semi-ustav. Has a lighter overall picture, letters are rounder and smaller. Clear spaces between words and sentences. Accent and a whole system of punctuation marks appear. The typeface is simpler, more flexible and quicker than in a charter letter. The feather is sharpened sharper, they use exclusively bird feathers (previously reed feathers were also used). The letter acquires a noticeable slope, each letter, as it were, helps the general rhythmic direction to the right. The half-ustav existed as long as the handwritten book lived.

11 (slide). Old Russian cursive. Almost simultaneously with the formation of semi-ustav, cursive writing developed in business writing, which soon found its way into books. She writes various letters, acts, books, she turns out to be one of the most mobile types of Cyrillic. Cursive writing has become an independent type of writing with its inherent features: roundness of letters, smoothness of their outline, and most importantly the ability for further development.

12 (slide). Civil Petrovsky font. The reform of the alphabet and type, carried out by Peter I in the early 18th century, helped spread literacy and education. All secular literature, scientific and government publications began to be printed in a new civilian type. In terms of shape, proportions and style, the civil script was close to the Latin letters. The same proportions of most of the letters gave the font a calm character. Its readability has improved significantly. The shapes of the letters L, Y, B, and yat, which were higher in height than the other capital letters, are a characteristic feature of the Peter's type.

13 (slide). In the future, the development process was aimed at improving the alphabet and type. New font designs appeared. Sliced \u200b\u200bHelvetica font. Uppercase. Direct light style.

14-15 (slide). The use of the font in the modern world.

16 (slide). The letter itself can be a pictorial element or accent color. Organizing the entire composition. The letter is a kind of picture. Its graphic style depends on the nature and content of the text. Often the letter plays the role of an emblem, graphic designation of a factory or product, firms or organizations.

17 (slide). The letter itself consists of the structural elements of the strokes. The main strokes are called the strokes that define the bases of letters (straight, curved, vertical, oblique, thin and thick).Connecting strokes are the elements that connect the main strokes and form letters with them. Serifs are additional elements.

18 (slide). On the task card, we sign the name of class. Assignment # 1: Have you ever looked at the alphabet in terms of letter symmetry? Try to highlight the following groups of letters in the figure: 1) having only a vertical axis of symmetry, 2) having only a horizontal axis of symmetry, 3) having two axes of symmetry, 4) having no signs of symmetry.

19 (slide) ... The spelling of the word "NOS" has a horizontal axis of symmetry, the word "POTOP" - a vertical one. How to write the word "NATASHA", so that it would acquire an axis of symmetry.

20 (slide). We check the correctness of the answers. We hand over the leaves.

21 (slide). We write in a notebook: Logo. Logo (other Greek) - "imprint" - a specially designed, original, outline of the full or abbreviated name of a company (or a group of products of a given company), a trademark.

22 (slide). Important ... Designers, when creating a sketch for a poster or poster, replace the real text with a set of any letters. Such nonsensical typing is called “fish” in the design. This technique allows you to focus on finding the best compositional solution. Use "fish" in your works, too.

23-24-25 (slides). Samples of the most recognizable logos.

26 (slide). The letter as a sign. Create a sketch of an emblem or trademark consisting of one (maximum two) letters and a symbolic image. If desired, you can create a logo (p31. Task # 4).

6.Individual creative task (creating a class logo; review the school logo) - 20 min.

7. Reflection:

1. Answers on questions. a) What is a font?

b) What is a logo?

c) Why is the letter "a" the first in many alphabets of the world.

1. Read the text written by "charter" and "semi-charter".
2. Arrange the cards with words in order.
3. Exhibition of the best works.

The purpose of the lesson:the formation of the ability to use techniques, means of composition, the development of aesthetic taste on the example of works of art built taking into account compositional laws

Lesson objectives:

• Educational: to acquaint students with the requirements for type compositions in modern design
• Developing:develop cognitive interest, promote the formation of creative imagination, develop taste and sense of composition
• Educational:education of cognitive interest in the art of design

Lesson equipment:

1. Computer class.
2. Multimedia projector.
3. Exhibition of Printing Products.

Lesson plan:

1. Define design, main categories and the role of type in design.
2. Showing a computer presentation followed by an explanation
3. Performing independent work using ICT technologies.

Organizing time.

Introduction. So we have come with you to the moment when we can put into practice the knowledge and compositional experience that we have acquired by performing exercises with squares and lines. The art of composition lies at the heart of Graphic Design and determines the appearance of books, magazines, posters, influences their visual perception.

During the classes

The topic to be studied today is “Letter - Line - Font. The art of type ”.

1. Harmony, contrast and expressiveness of planar composition.
2. Symmetry, asymmetry and dynamic balance.
3. Motion and statics.
4. Straight lines and organization of space.
5. Color is an element of the compositional space.
6. Letter - string - font. Font art.

What is design? Let's try to give a definition.

Design - eng. “Designe” - concept, intent, plan, goal, intention, creative concept, project, drawing, calculation, construction; sketch, drawing, pattern, composition art composition, work of art.

Design is a creative method, process and result of artistic and technical design of industrial products, their complexes and systems, aimed at achieving the most complete correspondence of the created objects and the environment as a whole to the capabilities and needs of a person, both utilitarian and aesthetic

Children's answers: color, shape are the main categories and unity, balance, contrast are the main design principles ..

Computer technologies penetrate deeper and deeper into all spheres of human activity. Artists and designers in their work actively and fruitfully use the capabilities of software and hardware systems based on personal computers. In print and industrial design, creative work is now almost universally created using computer technology.

We can define computer design as a field of design in which the computer is used as the main tool for artistic design and design. The key concept that defines the peculiarity of this type of artistic creation in the phrase "computer design" is the concept of "design". With the emergence and development of computer graphics, design artists were among the first to use it in their work, and computer design is now used in almost all areas of design:

- the actual graphics;
- printing design;
- electronic publications;
- Web design;
- three-dimensional graphics

In the previous lessons, we found out how various free forms - spots and lines - affect our perception. Such compositions act only associatively and do not carry any specific information. But there are compositions consisting of lines that have a specific meaning - these are letters.

Any letter or hieroglyph is primarily an image. The letter traces its ancestry from the drawing. In ancient times, all information was designated by drawings.
Picture, or picture writing in the form of rock paintings by primitive people is called a pictogram.

Then the drawings turned into the first alphabetic characters, which became the basis for writing modern letters. (Consider the drawing.)

The pictographic writing was replaced by the deographic one. Objects were depicted either by symbolic signs (sun, moon), or by graphic images: a bird, an animal, etc.

Alphanumeric writing appeared in the second millennium BC. In it, signs meant individual sounds (phonemes). Moreover, the signs, depending on the pronunciation, could convey the sound features of the language in different ways. In alphanumeric writing, using graphic signs, it was possible to convey human speech

Over time, graphic signs have improved, some were replaced by others, simpler in form, conveying a new meaning.

A typeface (or typeface) is a type of letter that is united by a single graphic style. Compare fonts by different designers.
At the hand of an artist-designer, the letters acquire the shape and proportions peculiar only to this font. The perception of the word depends on what font, what size (i.e. font size) is written. We are influenced not only by the meaning of the word, but also by the character of the font.

Let's see what the font looks like in antiquity among different peoples.

We use the word “font” very often. What it is?

1. A set of letters, numbers, signs of a certain style drawing, serving as a technical means of reproducing speech in any language.
2. Set of typesetting letters (typeface) for typographic set.
3. Drawing (configuration) of letters, numbers, signs.

In the practice of artists, it is customary to classify fonts into groups in historical sequence. This classification is easy to read and helps to study the graphic features of the font. At the modern level, type is the basis of graphic design, an indicator of visual culture. It is in this area that the highest demands are placed on fonts.

Slide 15,16,17,18.

What are the requirements for font compositions:

1. BalanceIs an arrangement with which an eye-pleasing distribution can be achieved. The visual impression is influenced by: size, color, shape, density of a particular element.
2. Proportionality- the ratio of parts and whole.
3. Rhythm - alternation of elements, which gives the composition clarity, harmony, special expressiveness, proportionality.
4. Equilibrium - a sense of symmetry.
5. Tone- lightness of color. Achromatic - from white to black. Chromatic - colored.
6. Contrast - translated from French "opposite".
7. Harmony- the relationship of all elements, the unity of shape and color.
8. Integrity - the impression of completeness, simplicity of elements.

The letter consists of structural elements - strokes:
The main called the strokes that define the basis of letters (straight and curved, vertical and oblique, thin and thick).
Connecting strokes are the elements that connect the main strokes and form letters with them.
Serifcall additional elements.

The letter itself can be a pictorial element or accent color that organizes the entire composition. The letter is a kind of picture. Its graphic style depends on the nature and content of the text. Often the letter plays the role of an emblem, graphic designation or product, company or organization. The typeface is fraught with great visual possibilities.

Before proceeding with the practical part of our lesson, we will conduct physical education.

Task 1. Write a letter - an image.

The task is performed in any program (of the student's choice).

Examples of images: letter - flower, letter - animal, letter - object, etc.

Slide 22, 23.

Task 2. Create a font composition.

1. The type composition must be made in accordance with the requirements.
2. The text is in the same style.
3. Various types of modification are used, which psychologically affect the viewer, causing various associations.

To do this, you can use the following techniques:

1. Shade letters.
2. Apply rounded or straight undercuts.
3. Outline the letters.
4. Apply hollow letters.
5. Write letters only using volumetric shadow, etc.

Task 3. Create a composition in which the role of lines of different thickness and length will be played by lines that make up a single graphic whole with other elements.

Let's compare linear compositions from a patterned strip, straight line, letter line. Unlike a line and a strip, a line has meaning, that is, it carries information. But there is no pictorial difference between line and line. As part of the composition, they play the same role.

Designers, when creating a sketch for a poster or poster, replace the real text with a set of any letters. The technique is called "fish".

Work execution plan.

Summing up the lesson.

What are the basic concepts we have met today?
Students' answers. (Computer graphics, pictogram, font, etc.)
Review of works and analysis.

Bibliography.

1. N.M. Sokolnikova Fundamentals of Composition, Moscow, Ed. "Title", 1993
2. A.S. Piterskikh, G.E. Gurov, Art. Design and architecture in human life, Moscow, "Education", 2008