How to make poster fonts? How to make promotional posters

How to design poster fonts Question 1: What should I do if I want to turn my own words into artistic words on posters? Doesn’t the style of word art on the poster look like it can be designed by PS? How did that happen? For 30 minutes, I can put the fonts on the poster for you. How can I contact you to send you the materials? Question 2: How do you design the font for this kind of poster? The font is a bit like Founder Variety Style. In terms of effect, first type the text, add a drop shadow in the layer style, put a golden material on top of the text layer, use the main menu DD layer DD to create a clipping mask, and finally find the golden sand material and put it on the text to make the text. Golden scattering effect on the. Question 3: In graphic design, how can the title fonts in advertising posters be designed to be grand? How should fonts like those in pictures be deformed? The best thing for fonts like this is to find a sensible reference and then deform it yourself. . Question 4: Which font is used most often for posters? "Main title" variety show style Wending style advertising style Hanyi Lingxin style Wang Hanzong poster style Wang Hanzong Kanting style "inner text" Microsoft Yahei thin isoline bold style or Song style or Ming style. About posters: The name poster first originated in Shanghai. In the old days, posters were used for performances such as plays and movies, or for events such as football games. People in Shanghai usually call professional theater performances "Hai", and those who engage in professional theater performances are called "Xiahai". It is a publicity and customer-attracting poster that provides information about a play and performance. Perhaps because of this, people call it a "poster." Question 5: How to make this kind of poster font? There is a three-dimensional tool in CDR. It was ready very quickly. I don’t know about it in AI. If you know a little bit about CDR, you can do it well in CDR and then transfer it to AI. Question 6: What fonts are generally used to make posters? What kind of posters are they? If it is a hand-drawn poster, then POP fonts are very commonly used. If it is made by computer. Commonly used fonts are nothing more than Song typeface, Huawei font, Fanghua font, Youyuan font, Caiyun font, etc. However, if you make it on a computer, it is recommended to download some fonts online. If you are not sure what font to use, just try more! Question 7: How are the fonts like this made in the poster? The font "Guiqiu Master" is an artistic word... The light is a layer of white applied in the layer... Then use blur-radial blur and finally use the eraser to wipe and modify to achieve this effect. Question 8: How to design fonts for posters? PSCdr graphic software can design good-looking fonts. Question 9: What artistic fonts are generally used in graphic design? If you want to make your poster fonts more personalized, I suggest you download and install "Font Manager", which includes the latest and various fonts. I am a designer and use this software. I hope it can help you. ~\(^o^)/~How to make a promotional poster

The method of making a promotional poster is as follows for reference:

Method/Step 1:

Make one To create a beautiful poster, you must first clarify the theme of the poster and collect relevant pictures and text materials based on the theme. Determine the content of the product or activity to be promoted by the poster, draft a promotional slogan or promotional introduction, and prepare for the production of the poster.

Method/Step 2:

After selecting the materials according to the determined title, it is necessary to organize and modify the materials and apply them to the poster. The first is the design of the poster background. Depending on the theme, if the theme is related to the "sea", the background color can be blue or a pattern background related to the sea. Making the poster background tangential to the subject is essential to making a beautiful poster.

Method/Step 3:

After determining the background color of the poster, you need to layout the overall layout of the poster, that is, clarify where to place pictures and where to place text. You need to draw the overall layout diagram on a blank piece of paper to provide reference for later typesetting. The layout should be as spaced as possible between pictures and text. The layout of the poster should not be too dense and should be appropriately detailed.

Method/Step 4:

According to the requirements of the layout, first format the text. Put the text that needs to be introduced into the corresponding layout, and change the font according to the overall style of the poster. Generally, the font we commonly use when making posters is pop font. This font is relatively relaxed but does not change the shape of the font itself. It is suitable for poster production in terms of both aesthetics and rigor. After designing the font, read it carefully to avoid unnecessary errors and grammatical errors.

Method/Step 5:

After formatting the text, you need to format the images.

Paste the picture into the corresponding layout area. The picture you paste should be clear and beautiful, and the color should not conflict with the background color. After pasting, the size of the picture should be modified so that it adapts to the size of the entire layout and the text on the layout, and maintains coordination between the two.

Method/Step 6:

After the background, text, and pictures are made, a poster is basically completed. But in order to make the poster more beautiful, we need to make adjustments based on the effect of the entire poster. When adjusting, try to enrich the content of the poster, adjust the color matching of the poster, and highlight the eye-catching points of the poster. The adjustment is completed by designing an attractive title for the poster and placing the title appropriately in the layout. The font of the title should be the most eye-catching and the color should be the most prominent. How to design font posters? Since it is a font poster, we must first have a font design. When designing the font, we need to properly consider the possibility of application in the layout. In the case we will analyze it in detail; the second step is usually the effect of the font. Adjusting or adding a sense of form is mainly to consider the performance of the font as the main body in the poster; the last step really comes down to how to combine the font with the text group to present the layout in a suitable composition. Let’s start the first practical case directly and take a look at the basic information first. This poster takes "space" as its theme. The artist wants to express the concept of "if space is a blank piece of paper". Based on this concept, we tried the design of the font part. The first one we try is a simpler basic glyph. The concept based on white paper is also a relatively normal way to start, with straightforward expression without modification. Therefore, we made basic fonts that are relatively regular and orderly. In addition, regular fonts are easier to use when arranging the layout. Students with poor foundation can consider referring to commonly used title words. It doesn't matter if they are at the bottom, as long as they are reasonable. When making basic glyphs, we generally need to pay attention to two parts. One is the thickness setting of the strokes. The conventional rule is based on visual balance, we set the vertical pen to be slightly thicker and the horizontal pen to be relatively thin; if there are angled strokes, we need to adjust the thickness appropriately to make the overall coordination. The second problem is the structural problem. What we do here is a complete ordering process, physically aligning the font strokes around them. The spacing between strokes should be as orderly as possible, and the strokes should be aligned as much as possible! As for the placement of strokes, students with zero basic knowledge can refer to the processing of the font library. The basic font always feels like it lacks a sense of design, so we tried to partially deform the strokes of the empty font. When deforming strokes, we can first change the design of small parts of the strokes, such as the way of stroking in empty characters, which adds a sense of design without changing the overall structure. We can also make larger structural changes. This type is relatively difficult overall and involves the coordination of structure and strokes. Generally, we start with a manuscript trial and then optimize the details after choosing a direction. We will not expand it. Let’s try a basic effect first, making an effect similar to a gradient. The implementation method is extremely simple. Just copy it and use a clipping mask to select the remaining part. After the font effects are done, we next move into layout layout. We first divide the text groups into hierarchical relationships, match them with appropriate Chinese and Western fonts, and try to add colors and small elements that enrich the details in the layout. Finally, we tried to arrange the text groups and fonts in a double-column composition in the layout, and arranged the left and right parts in an orderly manner. Appropriately add some small elements to enrich the details, and our first case is basically completed. Let’s use space to try another solution (mainly because we are not satisfied with one solution). Let’s choose the same basic font as before, and then try a different font effect. We use the "Pathfinder Tool" to cut the part and then make a staggered process. Enhance the visual form of the font. Similarly, we first try to organize the text groups and combine the colors and added different elements. This version we have a slightly more trendy visual direction. Based on the previously determined elements and text groups, we placed them in the entire poster layout for arrangement. We still try to use a basic composition of two-column left and right layout, enlarging the "space" as the main body of text and placing it on the right side, weakening other text information, and ordering and regularizing the layout. Small radioactive elements are a commonly used method to highlight the tone of the trend. Another edition! ! Let’s see if we can make the “space” have a better effect and give it a try~ Let’s try to use the blending tool to enhance the three-dimensional level of the font. Make a copy of "Space" and shrink it, adjust the color to be the same as the background color, and place it in the middle. Double-click the "Blending Tool" to adjust the number of steps, then click on the large font and the small font respectively.

Regarding how hybrid tools operate in this type, interested students can read this article written before for a detailed analysis. We tried to add a formal sense of color and text group arrangement. After dividing the text information into hierarchies, we used color blocks to combine text groups. The overall layout method is not difficult. The font design is placed in the center of the layout with a centered composition. Mainly mention three points, in order to increase the overall sense of hierarchy. First, the surrounding colors were adjusted to contrasting colors of red and blue; the second step was to add a white line frame to the gray background; and finally, before exporting the picture, a slanted line texture was superimposed on the whole. We're tired~ Let's change the topic. "Phase of Things", what the artist wants to express is "philosophical thinking about existence and perception". So for this version of the font, we can be a little more flexible and don’t have to be too rigid about the structural strokes. The structure of glyphs is relatively flexible, and everyone has different habits. I am usually used to experimenting with manuscripts, or refer to ancient calligraphy sources for deformation. Try to make the deformation of the structural strokes relatively consistent with the handwriting feeling, and avoid problems such as abrupt and inconsistent connections. The previous version took into account the tonality of the later layout and wanted to make it more elegant, and also wanted to make a form with words scattered up and down as the main body. So I changed the font layout to up and down, and made the strokes thinner. The addition of circular strokes was also added considering that it can be used as an auxiliary element in later arrangements. After we have clearly divided the levels of text information, we try to combine elements and layout tonality when making basic arrangements. After we have basically determined the text group and tone, we can try to build the entire layout. (In actual execution, we often intersect the composition method and tonality at the same time.) To build the final layout, we use the four horizontal columns above and below as the basis for the composition. It is done in the form of text combination and cross-ordered arrangement. In the overall layout construction, in order to echo the font and theme, the combination of two red circles and the addition of seal elements were introduced. In fact, it is all to enrich the details and overall hierarchical relationship of the layout. As a conscience tutorial, we must give another case! ~ Let’s do a new case, the theme is “Sound Prism”, which is an art project in a sensory laboratory. Let's first build a basic glyph. At this time, we didn't think too much about the expression of the theme.