Some provisions of psychology on the adoption of platinum font compositions

Abstract

The article describes key provisions of perception and recognition of type units, texts, typographic compositions in graphic design. These provisions have been formulated by taking into account the psychophysiological features of recognition and evaluation of visual images by a human. It is emphasized that the assimilation of information is directly related to the structure of the stages of perception, prior awareness of the content, and also it depends on the correlation of font characters and background space. This article reveals the principles, means, and techniques of artistic shaping describes the general patterns of the organization of signs into coherent groups within the artboard, that should provide the harmony of such components. According to perception features, single-sheet printed typographical editions can be roughly divided into two categories: those that are focusing attention, and those that act directly on the perception, regardless of personal desires and activate reserves of permanent attention. The authors believe that the true artistic value belongs to those shape-forming principles which allow by only means of type characters and their placement within the artboard to activate the viewer’s attention. Such activation is a pledge of interest, conscious analysis, decision making and more. The article summarizes and formulates the most important aspects of text information perception effectiveness, it is based on the analysis of various layout options of the artboard where a combination of typography characters forms words, lines and text blocks. The perspective of further research is to use the following basic provisions of the perception psychology of sign and symbolic typographical information in the practice of graphic design and in research work on technical aesthetics and art.