5. Type Setting

5. Type Setting ● Layout design must follow strict rules so that readers can read the text efficiently and without hindrance. 5.1 Who do we typeset for? ● Reading is not only one form, we need to consider many possibilities. ● Before you do the layout design, first, think about who, where, and under what circumstances, and for what purpose will they read such text. ● 5.1.1 Different target audiences ○ Graphic designers must consider the audience from beginning to end, and their audience should be placed in the center. ○ Font size for reading text: The font size suitable for reading text is generally 9-12. ■ For most articles, 12-point words are too large, and it is easy to give the impression that these things are written for children or people who are just beginning to recognize words. ● 5.1.2 Senior readers ○ If you want to attract older readers, don’t oversize the font size. ■ For most articles, a font size of 10 to 11 points is recommended. ● In this way, you don't need extra design to consider the elderly. ● 5.1.3 Children and junior readers ○ For children readers who are initially exposed to reading, simple and clear fonts are very important. ○ Guidance systems: Guidance systems are needed in streets (traffic guidance systems), parks, fairs, and airports. People also turn the guidance system with information into an information system. 5.2 Text format and layout ● It is not enough to design on a computer monitor, since the choice of paper will also affect the effect of the printed matter in the eyes of the reader. ● 5.2.1 Books ○ The designer can influence the reading comfort of the reader. ■ For example, he/she can choose the specification of the book that is convenient for the reader to hold. There should be enough space between the edge of the center of the page and the edge of the paper, otherwise the reader needs to move his thumb constantly to see the entire article. ○ Edition Heart: the place where text is placed on books, magazines, and brochures. ○ For plain text, the type of paper is important - plain text should be printed on rough paper because the rough surface can reduce the reflection and refraction of light. Otherwise the reader must hold the book at a certain angle. ● 5.2.2 Magazine ○ The picture effect of the magazine is of primary importance. ● 5.2.3 Newspaper ○ Newspapers usually use A3 or larger pages. ● 5.2.4 Journal advertisement ○ Pay attention to the design of advertisements. You must be able to attract readers' attention. ● 5.2.5 Folds and brochures ○ The touch and surface effects of paper can convey the style and emotion of the work to a certain extent. ● 5.2.6 Posters ○ The so-called "external advertisements" such as posters must attract people's attention more quickly. ○ Less is more. ● 5.2.7 Commercial supplies ○ Stationery and business cards are the core of the so-called "commercial supplies". ○ In addition, there are seals, notepads, folding pages, envelopes, and post-it notes. ○ Letter paper is A4 size, business card type 85mmX54mm. ● 5.2.8 Outer packaging ○ Choose an optimized font suitable for small text as much as possible. ● 5.2.9 Internet pages ○ Common fonts suitable for monitors are: Arial, Georgia, Verdana, Trebuchet and Tahoma. 5.3 How to read? ● 5.3.1 Straight reading ○ Most of the novels are read from front to back, in a straight line. When reading novels, you should be particularly focused. ○ Traditional Latin fonts with serifs are usually used. Standard styles and italic styles are sufficient. ● 5.3.2 Information-based reading ○ Eye-catching title with pictures to attract attention. ● 5.3.3 Differential reading ○ Scientific works require a lot of information to be highlighted for readers. ● 5.3.4 Reference reading ○ Typical objects for reference reading are phone books and professional dictionaries. ○ "Organization" is a good keyword, because designing reference reading works must be organized. 5.4 Suitable reading of large texts ● 5.4.1 Font ○ Serif fonts are required for novel layouts, while sans serif fonts can also be used for non-fictional layouts. ● 5.4.2 Font size ○ The line of sight jumps from one focus to another in the text line. This jump is called glance. A short stay on an important point is called fixation. ○ Words that are too large have poor readability. ○ Choose the right font size. You should consider the size of the base surface ■ For ex., the layout of the business card or pocket novel is smaller, so the font size used needs to be smaller than that used on A4 paper. ○ In addition, the target audience of the publication should also be considered. For publications aimed at older readers and junior readers, the font size you want to use is obviously larger. ● 5.4.3 Adjustment and layout ○ For reading comfort, the distance between letters should be as uniform as possible. ○ The optimization of the distance between letters in a font by a font designer is called adjustment. ○ Graphic designers should pay special attention to special design elements composed of text, especially the layout of the logo. ○ Eye-catching text and titles should also be carefully checked to see if the spacing between letters meets the standard. ○ All text composed of capital letters also needs the care of graphic designers. ● 5.4.4 Character spacing ○ Text with a small font size looks compact, and text with a large font size looks loose and needs adjustment. ○ The larger the letter, the greater the actual distance of the first letter from the left edge. To account for this situation, manually align left. ● 5.4.5 Column width ○ The larger the column width, the larger the line spacing. ● 5.4.6 Line spacing ○ Corresponding to the column width of 65~130mm, there is an optimal line spacing. The basic criterion for setting the line spacing is that the ideal line spacing should be 120% of the font size. ○ If the font size and line spacing are the same, such a layout is called a compact layout. ○ For reading text, the suitable line spacing is 120% to 150% of the font size. ● 5.4.7 Paragraph alignment ○ Four alignment methods: flush head (left alignment), flush tail (right alignment), center style (center alignment), and flush head (end alignment). ● 5.4.8 Background and base ○ Aspiring graphic designers should also consider the choice of paper—this is an emotional factor based on art. ○ The surface effect and touch of the printed matter convey certain feelings. ■ The rough, soft and delicate paper and the smooth and shiny paper give people a completely different feeling. ○ Coated paper: more suitable for printing photos, suitable for illustrated books, panoramas, folding pages, magazines, etc. ○ Uncoated paper: There are many kinds of elegant, high-quality or interesting papers to choose from, which can provide the best emotional support for the design. ● 5.4.9 The charm of excellent layout design ○ Without any modification, only concentrate on the design of the essence, which is much more difficult than adding various decorations to the layout. ○ Many people will exaggerate when they see excellent layout design, even if they are complete amateurs. 5.5 Title and headline title ● 5.5.1 Title rating ○ Title level: generally consists of the headline, first level, second level, and third level titles. ○ Label title: Mainly used in scientific works and professional books, such as "1.", "1.1", "1.1.1", etc. ○ Visual marking: adjust the font size, change the careful style, choose the font, all capital letters, etc. ■ When visually marking, the most important thing is to let the reader know the affiliation of each title. ● 5.5.2 Format the title ○ Whenever possible, set the title to be head-to-head or centered. ○ Don't use head-to-tail for headlines. ○ Try to avoid splitting the words in the title. ○ Generally, you should pay attention to the relative completeness of the meaning when you wrap the title. ○ Try to avoid the situation where the title is as long as two lines when it wraps. ○ Also avoid the shape of the title after a line break looking like a springboard. ● 5.5.3 Headline format ○ Reduce line spacing ○ Reduce character spacing ○ Narrow words ○ Close-up and long-range effects ○ Consciously design headlines 5.6 Highlight text ● You can only highlight certain texts to attract attention by creating distinctive effects through layouts. ● Negative prominence: Under normal circumstances, only by reading carefully or consciously looking for it can you find what you want to highlight. ● Active prominence: The most common way to highlight certain texts is to set a semibold or bold effect on the font. ● Underline: This method is a taboo in layout design, and is generally only used for complex scientific works or popular professional books. ● Don't be too exaggerated. 5.7 Advice and avoidance in some micro layout design ● 5.7.1 Character shape ○ The font cannot be deformed. ○ Both traditional and pure typographic designs tend to set shadows behind text. ● 5.7.2 Line break ○ For information such as "Dr. Mabuse", the title and name should not be separated when wrapping lines. There are similar "100m", "-5 ℃" and so on. ● 5.7.3 Punctuation marks ○ There should be a small gap between the punctuation mark and the text that follows. ● 5.7.4 Rules and basic guidelines ○ Guidelines for the correct use of punctuation marks are fixed. ○ Others are rules that layout designers should follow.