Typographical fonts. Fonts history. Fonts classification

In modern graphic design the wide choice of various fonts - from classical text to modern, advertising, time of extravagant projects is offered to the artist. At such quantity and variety of fonts, and in this variety the most part is made by fonts of doubtful quality as technical and art relation, in the designer robot on the first place took problem of a choice of this or that font.

As a rule, the font is developed taking into account prospective area of its use is book or journal production, scientific or fiction, children's or educational editions. Sometimes fonts, are developed for narrow intrafirm application, become general cultural property. For example, font Times has been developed in due time for a text set of the newspaper "The Times", font Frutiger was developed for visual communications of the Parisian airport, both fonts are widely applied till now in all areas of graphic design. In creative work often there is a necessity of a substantiation of expediency of a choice of this or that font, and only comparing graphic nuances different set, the smallest details of the signs defining a difference between a font elegant, constructive or carelessly rough, can be found the correct decision. The designer-schedule chooses and applies this or that font after the careful analysis of clearness and legibility a font of its aesthetic qualities and their conformity of the concept of the project as a whole.

Designer has a wide choice of formal receptions for the decision of the creative problems ability to choose the optimal variant for each project also is necessary. Correct and thin in the style relation the graphic project establishes exact connection between a form and content in which the message and its visualisation put an ideal parity in which the form remains not noticed and plays a role of "the silent servant" maintenances. Observance or creation of unity utilitarian and aesthetic is an indispensable condition of creative activity, and its perfection depends on professionalism of the designer, professionalism not only in knowledge of a technique of technologies of designing, but also in perfection and refinement of the taste assuming understanding of existing styles and a prediction of tendencies of development of graphic design." It is said that each seven years our character, let change varies affect, first of all, in improvement and a taste refinement "- Baltasar (1601-1658). Considering importance in creative work of correct understanding and the relation to taste problems, in the grant fragments from products of philosophers, writers, artists in which these questions are considered from the various points of view are resulted.

By working out of graphic projects the designer should know well technological processes and materials with which help these projects are realised. In some cases the technology makes solving impact on the art concept of the project, and the technological processes are more perfect, the it is more than possibilities of self-expression of the artist, the it is more difficult to create and supervise faultless balance of forms and contents. As a rule, constant rivalry of a form and content is won by the form. It is possible to consider as creative success when in the project it is possible to keep eternal antagonists in balance. The formalism of creative process in art and design any kind is its integral part. A question, "what to make?" Always assumes a question, "how to make?". The material presented to the second part of the grant will help to answer these questions through studying of achievements in the field of font design from 15 for 20 Centuries.