Unlike the functional 2D examples we have added form, shadow, perspective and depth to add visual factors which add dimension. We’re not only looking at the type but also the shape, form, and texture of the print blocks. All of these are used to inform but priority is placed more on the creative aspect of the look and feel.Įxample 1 shows how print block letters have been carefully chosen and arranged to look like a face. The second set of examples showcases more creative uses of type. They only serve to complement and add sophistication to the message. In this example, the contrast is not only in size but also in alignment which creates an overall dynamic layout.Įven though there are some creative aspects to these compositions, it is not enough to distract from the overall message. The smaller type runs aligned left to each word in the larger type. ![]() ![]() Here we have a larger line type to the top which defines the column widths of the type below. This font feels quite classy and boutique. In example 6 we have a serif font with thick spines and thin crossbars with exaggerated serifs. Under this, we have a bold message capped into a space sealed with two line bars at the top and bottom giving it a bold, rigid, strong and assertive feel. Overall this creates a nice contrast with direction and movement on the page.Įxample 5 is simple and bold with a decorative font used for what could be a title or header of a magazine or booklet. We also see some line elements that have been used to reinforce the visual structure and layout with the headers and subheaders.Įxample 4 is simple yet dynamic, where we have a clean bold header with justified type below in a block at a unique angle. Negative space has been considered to create a structure and allow some type elements to stand out. In example 3 we have a mixture of type weights applied to the header and subheaders to create contrast and hierarchy. ![]() The examples show type in columns and some type of elements have been increased and used in capitals to add contrast. The first set of examples showcases functional uses of type which are used to inform and deliver a clear message.Įxample 1 is a basic use of type justified and placed simply on a page as one block which has a traditional feel with the use of its serif font.Įxamples 2 and 3 take the previous technique further add more dynamics with more complex compositions. The characteristics of every typeface can be broken down into what is known in design as the anatomy of type. This unique letter shape is an entity and is part of a complete typeface made of other letter shapes. ![]() Typography is one of the most commonly used elements in graphic design and is the most direct way to communicate visually, typically set either as headers or in paragraphs.Ī single letter in a typeface is a combination of geometric and organic shapes which combine together to create a larger shape. Whatever work you produce be it for a magazine, a poster, a website or an advertisement, these visual elements will play a part in your design. The basic visual elements that combine to create graphic design include the following: line, colour, shape, texture, space, form and typography. Through the harness of artistic expression, we choose these visual elements and arrange them on a surface in a layout to convey an idea. The graphic part of graphic design is made up of visual elements, the building blocks of design.
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