What are the design styles of copywriting fonts?

(1) Beautiful and soft. The font shape is beautiful and fresh, and the lines are smooth, giving people a gorgeous and soft feeling. This type of font is suitable for themes such as female cosmetics, accessories, daily necessities, and service industries.

(2) Steady and straight. The font is regular in shape and full of strength, giving people a simple and refreshing modern feeling and strong visual impact. This kind of personalized font is suitable for themes such as machinery and technology.

(3) Lively and interesting. The font shape is lively and lively, with a distinct sense of rhythm and rhythm, and the colors are rich and bright, giving people a feeling of vitality. This personalized font is suitable for children's products, sports and leisure, fashion products and other themes.

(4) Vigorous and simple. The font shape is simple and unpretentious, full of ancient charm, and can bring people a sense of nostalgia. This kind of personalized font is suitable for traditional products, folk art and other themes.

In addition, the outline of Hanzi is shaped like a square, but due to different strokes, the shape of the font outline will show different shapes, so there will be some visual deviation in the visual balance. Especially the combined strokes of single characters and combined characters will look unsightly. Therefore, we need to adjust and process glyphs of different shapes to make the text look more complete and balanced.

Fonts have character. We often use the phrase "words are like the person they are" to describe a person's handwriting, which means that a person's personality and experience will be projected onto the text. The font is the character of the text and the aesthetic expression of the ideographic function of the text. Excellent fonts convey emotions to readers through glyphs and stroke styles long before readers understand the meaning of the sentence. As the saying goes, "There is emotion before the tune is formed." Conveying emotions and meaning is the meaning of font design.

Thousands of people have different personalities, and so do their fonts. Cai Yong's "Bi Lun" said, "If insects eat wood leaves, like sharp swords, like strong bows and arrows, like water and fire, like clouds and mists, like the sun and the moon." This refers to the unpredictable changes in fonts. Fonts have various characters, which are reflected in different stroke thicknesses, straight and straight lines, and density of structures. Next, we will briefly analyze the character of fonts from these dimensions.

(1) Thickness and thinness: thick strokes are thick, thick, and powerful, like thunder; fine strokes are thin, light, and delicate, like a weak willow supporting the wind. This is the most direct and superficial perception. Thick stroke fonts will form high-density text blocks in typesetting. This is because the strokes are thickened, the negative space of the font will be reduced, the visual area will be increased, creating a sense of oppression, and then forming a visual center of gravity, producing an emphasis. Therefore, bold fonts are often used in titles and slogans, occupying a conspicuous position and producing an emphasis. Bold stroke fonts will form high-density text blocks in typesetting. This is because when the strokes are bolded, the negative space of the font will be reduced. Small, the visual area is increased, creating a sense of oppression, which in turn forms the visual center of gravity and creates an emphasis. Therefore, bold fonts are often used in titles and slogans, occupying a conspicuous position and producing an emphasis. Most fonts are not composed of simple straight lines or simple curves. They are straight horizontally and vertically, curved and curved. Only when you are straight can you appear strong and soft, strong and flexible. As shown in Figure 6.6, the starting point and turning point of the regular script of the Northern Wei Dynasty are like cutting gold and breaking jade, which is crisp and clean. The entire font looks upright, strong and heroic, and there are graceful curves at the strokes and strokes, making it a little more rounded. Just a little more elegant and agile. Super Ganghei is a typical pure linear font. The thick strokes and sharp lines give the font an unquestionable determination. Without the curves, there is no room for maneuver. There will be exceptions in any theory. For example, although the vast majority of Tiejin official scripts The strokes are all curves, but there is a sense of strength everywhere. Although it is as thin as a thread, it is as strong as iron. Essentially, because its arcs are elastic, adding arcs to horizontal strokes will not reduce the strength, but will have a rebound force. (3) Looseness and rigor: The writing in daily life appears relaxed and lively, with a certain A kind of casual and uninhibited beauty. However, when written in temples, cast in bells and tripods, or printed into books and passed on to later generations, there is a kind of rigorous and dignified beauty.

The essential difference is the looseness and rigor of the structure. Innocence and liveliness are the nature of teenagers. Children's world does not have many rules and constraints, and children's fonts also appear immature and lively. Therefore, loosely structured handwriting is often used in children's themes or in relaxed and humorous reading environments. (4) Simple and traditional: The simple and traditional mentioned here are not simplified and traditional, but the complexity of the details of the strokes. To take the simplest example, serif fonts are relatively more detailed than non-serif fonts, and Song fonts are also more complicated than bold fonts. Just as complex and gorgeous patterns are typical features of classical furniture, and simple and practical IKEA furniture is a model of modern life, the complexity and simplicity of fonts also represent the trend of classical and modern times to a certain extent. TrajanPro is an ancient Roman style font. The serifs are rich in details, elegant in curvature, and have varying thicknesses. They were originally carved on stone pillars in ancient Rome and have a strong historical heritage. Therefore, they are often used in movie posters with classical themes. Helvetica is regarded as modernism in the font design world. The typical representative is a classic sans-serif font, which strips away unnecessary details and uses standard geometric shapes as a structure. Instead, this font form without any style has become a style. The simpler it is, the more modern it is, so it is often used in modern corporate logo design, magazine layout, guide system, etc.