Typography is a huge part of the design and layout is a huge part of the rates. You can not just throw text on a page, must be well placed and organized in a clean way to add to the information being presented. Here are 11 tips to help typographical correctly transmit information that is printed.
1 .- Use a composition based on a grid *.
The grid is the underlying structure of almost everything you do in design, especially in print. She will help you create a clean and nice composition.
The grids are simply a structure of columns and rows. Typically, when someone mentions a grid, one can think of even in lines and columns, all the same size. In print you do not want everything to be the same size. A variation of size is required for a good composition well structured. A standard design consists of one or two columns, but be original and use three, four or five columns. Remember that these columns need to fit on the page, and every time you add a new column you have to reduce other columns.
This page is an excellent example of a composition based on a grid. Use a very complex grid to organize all types and graphic elements in a readable and organized composition. Also note, the grid is not perfectly defined, some objects are flowing out of the edges.
2 .- Alignment.
Speaking of composition. Also talk about the lineup. Alignment is another option that has a strong impact on the structure. For a more standard printing composition, it is obvious that the body of the text should be aligned to the left to hold the majority of people can say that needs to be focused, but the headline text can pull the composition. The left alignment is almost always the way to go, especially with text elements in bold. The alignment can also work right. Occasionally, one can run full-page aligned to the right, but often will not look good. Use right alignment in a smaller text as a footnote on page or in a legend can work with a composition right-aligned.
If your body text is aligned to the left, be aware and do everything else on the page also is aligned to the left. The most important factor in the alignment is to make sure everything is seated in the same place. This is when your strategic grid on the play. Each text object must be the same distance from the right (or left).
3.-Don ‘t restricted to the paper.
The size of the paper they’re printing can be a real problem sometimes, because it is difficult to fit all text on the page. The solution is leaving the page. All text, do not have to be within the small constraints of the page, you can let the text flow off the page What do I mean? In Logar to accommodate all the text, cut sides allowing text to flow off the page, If you cut a small part of a letter or a word, people still get the message, and have more space. Be careful not to cut too ugly. Keep it at a point where the text remains readable in the same way as if one could read it if you were completely in the paper.
This composition extends from the page, but is still completely readable. It also uses a good repetition, which I will speak later.
4. Spacing, margins, kerning and Interline.
Using a good spacing and margins perfectly measured is likely one of the most important aspects of printing and typography. Even the smallest space can affect how someone sees the design.
The point of what you are doing is the content. Then use some time in the legibility. Take a look at kerning, the space between individual letters and the interline spacing between text baselines. The interlining and kerning are the most important body of the text. If the grade is too interlining, can be distracting because there is too much white space. Make interline too small and the reader will be restricted to try to read the text.
The colors and contrasts can sometimes be difficult. It’s one of those situations when it can look really good or just plain not work. As with the kerning and interlining, ill contrasts can make the text unreadable. Finding the perfect balance for the body text is challenging, it needs to be strong enough to be visible, but not so strong that it becomes distracting.
The contrast is another technique to identify the holders and other important objects, the contrast level can help to blow up an object or make an object more subtle. Use a sharp contrast for text holders who want to be noticed immediately.
On the subject of color. Mention the use of inverse colors to draw attention to the text. For example, instead of using black text on white using white text on black.
6. Juxtaposed objects **.
I mentioned you should stick to a composition grid. Bueo, I lied. You MUST use a composition grid, but you should not restrict you to a perfect grid. Instead, try to juxtapose text and graphic elements.
Now, the juxtaposition will not work on each composition, but sometimes it can look very clean and organized, First of all, you only can juxtaposing objects of different color or transparency, in other words, will look messy and confusing.
This is probably one of the best compositions I’ve seen. Use a grid, good headlines and juxtaposition of objects. Watch the event on the left page. It is juxtaposed on the body of the text, but both still fully legible.
7. Change her, but be consistent once.
When making a multi-ended, you must stay consistent with colors, fonts and sizes across all pages.
I told him to change, but, What I meant is that you need to switch the composition of the typeface. Since you are working with a grid system, alternating the composition of the grid. Change the number of columns and rows, and the size of each. Try this while keeping the “feel” of the other pages.
8. Make a line with graphic elements.
Do not forget that the font is not the only part of the print, you must incorporate images and other graphical elements. The rates should be established in a way that flows with graphic elements such as images. There are a few techniques to get your available flow. The first is the spacing (the spacing is obviously important today) Create an appropriate margin size between the image and text. You could also take the opposite route, which would burden the text on the image. You could place the text directly on the image, but most likely better have the text flowing off the image.
Here is a good example of text superimposed on the image. Notice how transparency was used and the image remains visible.
See how this magazine has organized the text elements on a large background image.
9. Make it interesting.
I have spoken of the importance of white space, but space does not necessarily mean that it is a minimalist composition. In print, minimalism is useful, but can not be too minimalist. The impression has to be interesting and intriguing. How does one go about doing more interesting to typography?. There are several ways.
Attractive colors – First, use interesting colors that are attractive to the eye. Avoiding use the standard black and white. To go with that, be sure to use more than one text in the font color. Use different colors for different elements in the hierarchy.
Repetition – Another technique is to repeat text objects on a page. Repeat words they have certain ways as well look good. Only asegúratede repetitive words do not distract from the main content if used on a page with other important elements.
10. Remember the Hierarchy
The hierarchy is the term used to describe the variation in typographic elements such as headlines and text. In other words, it means you need to have a variation in sizes and weights between headlines and body text. The variation of sizes is necessary, because it allows the reader to recognize the difference between these elements in typography.
The headlines are one thing where you have to be cautious. The reader first sees the headline. Make the owner look good enough to leave the audience wanting more.
Also keep in mind that the hierarchy does not have to fit in a certain order. You can locate a holder next to the text rather than simply put it to the top.
11. Blank: Nothing is Everything.
Believe it or not, a large element of printing is nothing. White space provides a professional feel and minimalist, but can also be incorporated into a complex composition. Use plenty of white space in a composition is a smart practice, but only if used correctly. A good way to integrate it into the font is to keep all the fonts in a small area of the page, and leave the rest as white space. This creates a very clean and pleasant view.
Look at the two pages. Now this is thinking in the end, using nothing more than space, but is a good example of how nothing can add something.